A Reconsideration of Old Norse hugr and Huginn - DUO (uio.no)

Cognizing as the Wind and Metaphors of Mind:

A Reconsideration of Old Norse hugr and Huginn

Alex Benjamin Casteel

Master's Thesis in Viking and Medieval Norse Studies

MAS4091 (30 ECTS)

Department of Linguistics and Scandinavian Studies, University of Oslo

Faculty of Icelandic and Comparative Cultural Studies, University of Iceland

Spring 2020

© Alex Benjamin Casteel

2020

Cognizing as the Wind and Metaphors of Mind:

A Reconsideration of Old Norse hugr and Huginn

Alex Benjamin Casteel

http://www.duo.uio.no/

Reprosentralen, Universitetet i Oslo

Summary

Eschewing for lack of evidence notions of an Old Norse “mind” which transgresses

the body through breath or is operatively breath, this study adopts and applies

conceptual metaphor theory and other cognitive perspectives with a self-referential

focus on “mind,” formulates novel cognitive metaphors with which to approach

primary sources, and in turn investigates a corpus relevant to Old Norse hugr, “mind,

thought” inclusive of skaldic poems thought to date the very early eleventh century

or earlier, eddic poems, Útgarðr-Loki’s Hugi, the raven heiti Huginn, and vindr

trǫllkvenna kennings with their proposed referent [HUGR]. Investigation revolves

around the ontological distinction between “self” and non-“self” as embodied in

human experience through somatic and extrasomatic spaces, and specifically as

realized in a temporally and culturally disparate schematic in which hugr is not

located in the brain but in the breast, reflected in two correspondingly adapted

general metaphorical views of mind, MIND AS PHYSICAL SPACE and IDEAS AS

EXTERNAL ENTITIES. Conceptual recognition of Huginn as a raven form hugr allows

for the generation of Old Norse specific cognitive metaphors HUGR IS A FLYING BIRD

and HUGR IS A RAVEN INCITING A WOLF which are employed to seek to better

understand the interrelationships between the base-word, determinant, and referent

of vindr trǫllkvenna, leading to the development of the hypothesis, subsequently

tested on four examples, that [HUGR] is a context specific performance of cognizing

as “wind” as extended extrasomatically into space that is agentially difficult or

impossible to control. Analysis is framed within broader research questions

concerning whether the Old Norse body may have been conceived as metaphysically

permeable as well as the interrelations of the semantics of “mind, idea, thought” and

hugr.

Foreword

I would firstly like to thank my advisor, Mikael Males, for the valuable help in this

process, as well as Karl G. Johansson and Jan Bill for the same reason; I am very

grateful for all exchanged words concerning what is foremost a project of sincere

interest. I feel similar gratefulness toward Haraldur Bernharðsson, a tireless leader,

organizer, and teacher of Old Norse, and the many, many wonderful others involved

with the VMN program. No less, however, would I like to extend my thanks to Mary

R. Bachvarova, whose classroom and knowledge bloomed scholastic growth and

academic maturity, to Terry Gunnell, to whom I have deep respect and admiration

as both an educator and researcher, and to my undergraduate advisor Scott Pike, who

provided me with opportunities that have led to this moment. Without the

inspirational Medieval educational experiences offered by Wendy Petersen Boring

and Joanna Story, it is hard to imagine I would be where I happily am now. I must

also extend a word to two of the best educators anyone could ever hope for: Paula

Clarke and Ted Hamilton, who catalyzed what was then a much vaguer interest in

anthropology; sincerely, thank you. Movement from the disciplines of anthropology

and archaeology toward linguistics and Old Norse Studies has been a wonderful and

exciting academic challenge, and all interdisciplinary scholars paving the way have

my utter admiration.

Without the friendship of Meg Morrow and Sam Levin, as well as Catelynn Hendrick,

friendships which can, for obvious reasons, only be metaphorically described as

colorful blossoms in the Norwegian springtime, the road would have been very

difficult and more or less unimaginable. I would also like to thank Camille Zuber,

for, above all, her patience, grace, and kindness throughout this process. The VMN

cohort as a whole offered so much to look up to, with some notable (yet intriguing)

exceptions: to both, thank you friends. To all the folks in Iceland and Norway who I

got to know these past months, I look forward to the next time seeing you. On a final

note, thanks go to my parents, Bruce and Lisa, for your support.

“Ravens about to tease some resting wolves.” L. David Mech, 1966

Table of Contents

I. Introduction

1

I.1 Aims and Relevance to Current Scholarship

1

I.2 Adopted Theories and Applied Methods

5

I.3 Introduction to the Sources

7

II. Dispelling the “breath concept”

10

III. Metaphors of Mind and Old Norse hugr

15

IV. Introduction to vindr trǫllkvenna and Huginn

30

V. Three vindr trǫllkvenna kennings

41

VI. Huginn and the Wolf: Guþþormr’s Hákonardrápa 8

50

VII. Conclusions

64

VIII. Bibliography

68

IX. Appendix: A-C 77

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I. Introduction

I.1 Aims and Relevance to Current Scholarship

The pursuance of this endeavour was motivated from the desire to question if to any extent

the Old Norse biological body shell, if indeed a boundary for the “self,” may have been perceived

as or believed to be permeable in a sense of “being” and “existing,” as well as one of the most

ubiquitous yet puzzling aspects of life as a human being: the intrinsic ability of the mind to think

and to cognize.1 This functionality is immaterial and incorporeal, operating apart from any

observable laws of physics and belonging to a human agency and will that is similarly formless.2

As operatively metaphysical, exclusively self-apparent, and as a phenomenon often tacitly

normalized in everyday discourse, the mind’s aptitude for cognizing performance is of

disproportionately high risk for neglection and presumption in any study of the past.

This study will utilize metaphorical views of mind and conceptual metaphors to address the

notion of Old Norse hugr, commonly translated as “mind, thought,” as an entity which may have

the potential to “be” extrasomatic. This approach is demonstrated to be evidentially preferable to

the so-called "breath concept," so named and critiqued in a 1983 study by Stephen E. Flowers,

which entails that human breath is either an explicit medium for the permeability of the “mind,

soul,” or that the “mind, soul” is itself operatively conceived as breath. In particular two such

metaphorical views are employed which are adopted from cognitive scientist John A. Barnden,

which target any ontological gap in cognitive experience that may exist between what will be

substantiated as a cardiocentric hugr of BODY IS A CONTAINER FOR THE MIND, located in the breast

and body where one physiologically “feels” emotion, and the performance of cognizing in which

1 Chris Fowler, The Archaeology of Personhood: An Anthropological Approach (London and New York: Routledge, 2004), 5-6. “Dividuality” is the foundation of permeability, in which the composite parts of a person may not be fixed but may instead either enter into or emerge from a person. Cf. Bo Gräslund, “Prehistoric Beliefs in Northern Europe,” Proceedings of the Prehistoric Society 60 (1994), which embraces a bipartite division of transgressive soul elements from an archaeological point of view: a “breath soul or body soul” and a “free soul or dream soul.” 2 Eric T. Olson, What Are We?: A Study in Personal Ontology, (Oxford: Oxford University Press, 2007), 3.

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the “thinking” hugr must connect with extrasomatic “objects”.3 These are MIND AS PHYSICAL

SPACE and IDEAS AS EXTERNAL ENTITIES, two conceptual views “that a mind can intermittently

use in thinking about itself and other minds,” which provide a capable framework to address if

hugr might have been conceived as “mind” in a physical space in which emotion and products of

the performance of cognizing (such as "ideas, thoughts") are located somatically and can be

manipulated “within,” or if hugr might also have been conceived as “mind, idea, thought”

separately in space external to the body of the agent such that the agent is conceptually “being”

within a space populated by “mind” or products of cognizing performance (“ideas, thoughts”).4

A survey of hugr in all eddic poems and in skaldic poems widely maintained as having been

composed in the years prior to the very early eleventh century yields a corpus which is, with

relatively few verses neglected, analyzed in Section III primarily through these two metaphorical

views but also other related and entangled conceptual metaphors. These methods are then

converged with the generation of two Old Norse metaphors of mind formulated from the raven-

heiti Huginn, subsequently applied to four early vindr trǫllkvenna kennings, which are suggested

to function as metaphors in their own right to upon which discuss a sense of ontological

uncontrollability and “fate”: HUGR IS A FLYING BIRD and HUGR IS A RAVEN INCITING A WOLF.

Section V and VI make use of the primary correlations of the respective source and target

domains of these two metaphors in order to test the hypothesis that the relationship between the

base-word <vindr> and the referent [HUGR] alludes to the performance of extrasomatic

cognizing and the “flight” of hugr by hyggjandi, “thinking,” as the bird flies through the wind,

and that the relationship between the determinant <trǫllkvenna> and the referent [HUGR] is that

of a spatial synecdoche in which [HUGR] is hugr in the view of IDEAS AS EXTERNAL ENTITIES, as

the mythological space of jǫtunn is that “outside” preordained bounds.

3 John A. Barnden, “Consciousness and Common-Sense Metaphors of Mind,” in Two Sciences of Mind: Readings in Cognitive Science and Consciousness, ed. P. S. O’Nuallain et. al. (Amsterdam and Philadelphia: John Benjamins, 1997). 4 John A. Barnden, “Metaphor, Self-Reflection, and the Nature of Mind,” in Visions of Mind: Architecture for Cognition

and Affect, ed. Darryl N. Davis (Hershey: Information Science, 2005).

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The “breath concept” has hardly been formalized per se, but it is named as such in a study by

Flowers which was interested in the construction of a comprehensive “soul” based on a proposed

proto-Germanic psychological lexicon.5 In a 2006 study Eldar Heide employed this underlying

concept in an attempt to bridge the semantic gap between “spirit” or “soul” on one hand and

“wind” on the other, hypothesizing the connection as breath operating through the respiratory

passages.6 Methodologically, Heide builds on the explicitly folkloric approaches that underly the

prominent discussion of hugr in the seminal 1975 lecture by Dag Strömbäck, “Concept of the

Soul in Nordic Tradition,” which shares much with a 1989 paper by Bente Alver, “Concepts of

the Soul in Norwegian Tradition”.7

Common to each of these studies is a coalesced “mind/soul” entity that lacks clarity of

definition as well as an implicit disinterest in temporally delineated source-criticism, particularly

in respect to any processes attributable to Christianization.8 These two issues are pointedly

addressed in Colin Peter Mackenzie’s 2014 PhD thesis entitled Vernacular Psychologies in Old

Norse-Icelandic and Old English, in which the author surveys Old Norse hugr, critiques Heide’s

5 Stephen E. Flowers, "Toward an Archaic Germanic Psychology," Journal of Indo-European Studies 11:1 (1983), 122-123, 131. For Flowers, any breath concept was linked to *and-/*ēþma-, in contrast to an emotive aspect with an “ecstatic inner power” linked to *gaist-, *wōð-, *mōð-, a “manifold cognitive aspect” with three subsets, and lastly a “synthetic concept,” *hug-. Flowers writes that *an- is a PIE verbal root “to breathe,” as in Sanskrit ániti/ánilah, Latin animus/anima, and Middle Welsh eneit. It has been suffixed with -t in PIE, forming a proposed Proto-Germanic form *and-, appearing in ON as ǫnd/andi. Flowers concludes that in North Germanic *and- may have “originally indicated a dynamistic life-giving and life-sustaining power contained in the breath.” 6 Eldar Heide, “Spirits Through Respiratory Passages,” in The Fantastic in Old Norse/Icelandic Literature: Sagas and the British Isles. Preprint Papers of the 13th International Saga Conference, Durham and York, 6th-12th August, 2006, ed. John McKinnell et. al. (Durham: Centre for Medieval and Renaissance Studies, 2006). 7 Dag Strömbäck, "The Concept of the Soul in Nordic Tradition," Arv 31 (1975): 5-22. Bente G. Alver, "Concepts of the Soul in Norwegian Tradition," in Nordic Folklore: Recent Studies, ed. Reimund Kvideland et. al. (Indiana University Press, 1989). 8 Strömbäck, “Concept,” 1, 4-6, defines hugr as “mind, soul,” defines soul as “the spiritual side of man,” and suggests that hugr radiates from an individual, in a “flowing-out,” which could be both directed or uncontrolled, and can possibly “free itself from its owner” as something separable. Alver, “Concepts,” 110-111, notes that “soul” is a Christian import but makes no attempt at using possibly pre-Christianization source material and defines “the hug” as Åke Hultkrantz’s “ego-soul,” amounting to “thought, wish, desire, temperament.” Mackenzie uses Íslendingasögur, fornaldarsögur, and other certain thirteenth-century or later Icelandic products, Strömbäck employs mostly sagas and folkloric evidence as does Alver, and Heide, “Spirits,” amalgamates an even wider source breadth; there is little focus on skaldic poetry in any. Flowers, “Archaic,” 117-118, never connects *hug- nor ON hugr to the breath concept directly, claims that most relevant documents are either overtly ecclesiastical or merely superficially secular, except in ON which “preserves the pre-Christian terminology within an indigenous ideological framework.”

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evidence in favour of the “breath concept” and distinguishes ethnopsychological constructs from

the “soul”.9 The investigative crux into hugr and the “breath concept” for both Mackenzie and

Heide becomes the kenning type vindr trǫllkvenna, so named by Snorri in Skáldskaparmál who

gives the referent as hugr.

For Mackenzie, vindr trǫllkvenna kennings are problematic evidence for the “breath concept”

primarily due to a 2012 study by Judy Quinn, itself building on a 1997 study by Roberta Frank,

which he sees as conclusive of the kenning more aptly referring to “moods or attitudes”.10

Mackenzie thus divorces vindr trǫllkvenna not only from the “breath concept” but from “hugr as

an ethnopsychological construct”.11 However, Quinn’s methodology of extrapolating individual

context, avoiding manuscript emendation, and questioning the “mechanical substitution”

inherent to Meissner’s taxonomies in order to draw comparisons with “Wind of the Valkyrie”

kennings concludes differently, despite glossing over any semantic impacts a bodily assignment of

hugr to the breast may cause: “they express the idea that human thought processes, to the extent

they can be projected back from people’s reactions, might be explained as the effects of powerful

supernatural forces”.12

9 Colin Peter Mackenzie, "Vernacular Psychologies in Old Norse-Icelandic and Old English” (PhD diss., University

of Glasgow, 2014), 67-71. In agreement with Mackenzie’s critique of Heide’s reliance on a tenuous polysemous nature of Indo-European terms for “breath” and “spirit,” which in any case are coupled with Heide’s primary motivation in examining Old Norse gandr rather than hugr, potential semantic breadth in the Old Norse lexicon is only useful insofar as it is evidenced. Cf. Heide, “Spirits,” 350-351, C-V, Zoëga: ON vindr is “air, wind,” ON andi is “breath,” and “a current of air,” tied to the verb anda, “to breathe,” or, of air, “to waft.” Andi and anda are cognate to ǫnd/and, “breath.” The verb blása can mean “to blow, to breathe.” In Latin, anima is “air, breeze, breath,” and spiritus is “breath, light breeze.” Anima is tied to animus, and spiritus to spīrō, encompassing the meaning “life.” Finnish henki and Saami heagga/hiegke may present the duality “breath, spirit.” 10 Mackenzie, “Vernacular,” 60, 70-71, concurs with Flowers, “Toward,” 134, that “the breath concept is much less prominent than might otherwise [have] been thought.” Judy Quinn, "The ‘Wind of the Giantess’: Snorri Sturluson, Rudolf Meissner, and the Interpretation of Mythological Kennings along Taxonomic Lines," Viking and Medieval Scandinavia 8 (2012), considers all examples on equal temporal grounds, doesn’t readily establish a semantic field for hugr, and doesn’t compare usages of hugr by the same skalds against their respective usages of vindr trǫllkvenna. Roberta Frank, "The Unbearable Lightness of Being a Philologist," The Journal of English and Germanic Philology 96:4 (1997), frames discussion in an air/earth, wind/Jǫrð, “mind”/ “heart” dichotomy. 11 Mackenzie, “Vernacular,” 60. 12 Quinn, “Wind,” 255, reiterates the versatility and fluidity in the referent, not an entire severance from hugr.

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I.2 Adopted Theories and Applied Methods

There exists an embedded connection between the human mind and language use, such that

cognitive theory maintains that meaning is primarily accessed by language, and that language is

the product of the same general cognitive processes that enable the human mind to conceptualize

experience.13 Old Norse language use, and perhaps especially poetic language use, creates

representations of a distinct reality within which are conceptual “structures,” such as metaphors.14

George Lakoff and Mark Johnson’s cultivation of “conceptual metaphor theory” thus has as its

basis the idea that metaphor is a basic pattern of the mind’s functionality, to the extent that not

only are many thought processes themselves metaphorical but that the human conceptual system

as a whole is metaphorically structured and defined.15 In overarching terms, it can therefore be

stated that Old Norse speakers did not live “in the same world with different labels attached but

in [a] somewhat different world [than our own]”.16

13 P. T. Smith, “Thought and Language,” in Concise Encyclopedia of Philosophy of Language, ed. Peter V. Lamarque (Elsevier, 1997), 85. Extant source material deemed representative of literacy are an inherent window into human cognition; mental operations involve representations described by language, and language in turn can drive these mental operations. Julian Jaynes, The Origin of Consciousness in the Breakdown of the Bicameral Mind (New York: Houghton Mifflin, 2000), 50, writes “language is an organ of perception, not simply a means of communication.” Cf. Margaret H. Freeman, “Poetry and the Scope of Metaphor: Toward a Cognitive Theory of Literature,” in Metaphor and Metonymy at the Crossroads: A Cognitive Perspective, ed. Antonio Barcelona (Berlin and New York: Mouton de Gruyter, 2000), 253. 14 The conscious experience is inherently subjective to the individual with individual realities, but this occurs socially. O. Werner, “Sapir-Whorf Hypothesis,” in Concise Encyclopedia of Philosophy of Language, ed. Peter V. Lamarque (Elsevier, 1997), 79, 83: at a minimum, language has a tendency to influence thought, and the choice of the language and its lexicon underly one’s cultural reality, limiting “customary” categories of thought. Cf. Leonard Talmy, Toward a Cognitive Semantics, Vol. ll: Typology and Process in Concept Structuring (Cambridge and London: The MIT Press, 2000), 1-4, 373, which addresses “how language structures conceptual content,” and “qualitative mental phenomena as they exist in awareness,” wherein semantics is the linguistic manifestation of the “conceptual;” all language competence is conceptual and thus cognitive. Cf. Kim Ebensgaard, “Cognitive Semantics and the Theory of Embodiment,” unpublished “Slides from an Introductory PhD Seminar on Cognitive Linguistics,” https://www.academia.edu/6303454/ (accessed April 20, 2020). 15 George Lakoff and Mark Johnson, Metaphors We Live By (London: University of Chicago Press, 2003), 4, 6. Cf. Peter Stockwell, Cognitive Poetics: An Introduction (London and New York: Routledge, 2019), 5, 105, 109: within this view, “many ordinary expressions and ways of representing the world rely on metaphorical mappings.” Cf. Freeman, “Poetry,” 1. Within ON Studies see Kathryn Ania Haley-Halinski, “Kennings in Mind and Memory: Cognitive Poetics and Skaldic Verse” (MA thesis, University of Oslo/University of Iceland, 2017). 16 Smith, “Thought,” 85, on linguistic relativity: “we cut nature up, organize it into concepts, and ascribe significances as we do” as an agreement throughout a speech community, codified in patterns of the speech language. Cf. Werner, “Sapir-Whorf,” 79: When applied, some grammatical and all lexical categories of [Old Norse] would direct its speakers “toward somewhat different evaluations of externally similar observations [than us].” A. D. Oliver “Ontology,” in Concise Encyclopedia of Philosophy of Language, ed. Peter V. Lamarque (Elsevier, 1997), 34-35: “a semantics for natural

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Conceptual metaphors consist of a source domain of familiar concepts which are mapped

upon less familiar and conceptualized target domains, which are very much not limited to

external structural analogy but inclusive of the mind itself as metaphorically describable.17 This

study is focused on conceptual metaphors of an inherently metaphysical and abstract mind, which

are thus inseparably ontological, “[enabling] us to see more sharply delineated structure where

there is very little or none”.18 Conceptual metaphors of mind become a kind of meta-

representation, because, as cognitive scientist Michael S. Kearns states, when it comes to “mind,”

nothing except for facts about the structure and function of the nervous system or the sensory

apparatus can be described literally.19 To this end, embodiment theory claims a mutual

relationship between cognizing on one hand and sensory or bodily stimuli on the other, to the

effect that metaphorical concepts, as cognitive processes, have their origins in our body and are

shaped by it.20

The most applicable central operative form this takes is conceiving “mind” as a discrete

space, which can be referred to as MIND AS PHYSICAL SPACE. Whereas “container metaphors” such

language will inevitably commit the users of that language to various categories of entity,” in which verbs are like events and modal operators are like quantifiers over possible worlds. 17 Lakoff and Johnson, Metaphors, 4-6. Cf. Ebensgaard, “Cognitive,” 92-101. Jaynes, Origin, 48-49, instead defines the same operative schematic as consisting of a less known “metaphrand … the thing to be described,” and a more known “metaphier … the thing or relation used to elucidate it.” 18 Zoltán Kövecses, Metaphor: A Practical Introduction, Second Edition (Oxford: Oxford University Press, 2010), 39.

Cf. Lakoff and Johnson, Metaphors, 27: This often involves viewing a nonphysical thing as an entity or a substance. Cf. Jaynes, Origin, 53, that “understanding a thing is arriving at a familiar metaphor for it.” 19 Michael S. Kearns, Metaphors of Mind in Fiction and Psychology (Lexington: University Press of Kentucky, 1987),

21. Jaynes, Origin, 50, writes “language also moves … behind our experiences on the basis of aptic structures in our nervous systems to create abstract concepts whose referents are not observables except in a metaphorical sense. And these too are generated by metaphor.” 20 The essential cognitive function of organisms to categorize leads to a formational process inextricably tied to the

morphology of the body. This reorients any Western, mind-body “problem” in which the brain wholly controls the body. Rolf Pfeifer and Josh Bongard, How the Body Shapes the Way We Think: A New View of Intelligence (Cambridge and London: The MIT Press, 2007), 1-3, 5-6, 20, 364. Cf. Stevan Harnad, “To Cognize is to Categorize: Cognition is Categorization” in Handbook of Categorization in Cognitive Science, ed. Claire Lefebvre et. al. (Elsevier, 2017). In ON Studies, see Mr. Frog, "Understanding Embodiment through Lived Religion: A Look at Vernacular Physiologies in an Old Norse Milieu [with a Response by Margaret Clunies Ross]," in Mythology, Materiality and Lived Religion: In Merovingian and Viking Scandinavia, ed. Klas Wikström af Edholm et. al. (Stockholm University Press, 2019), 269-270, 272: when “empirical materiality [of the body]” is disconfirmed, “we find an ethnocentric construct of ‘people like us’ from which ‘others’ can be fractionally differentiated … both physically and at an imaginal level.” Frog employs the term “body images,” defined as socially constructed “imaginal understanding[s] of the body’s physiology.”

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as BODY IS A CONTAINER FOR THE MIND often “project the in-out orientation of the human

experience of embodiment on extrasomatic bounded entities (or self-referentially),” MIND AS

PHYSICAL SPACE proactively emphasizes the spatial definition and bounds of “mind” as a concept

without assuming the characteristics of an impermeable walled container.21 This bounded space

underlies perhaps the most ubiquitous cognitive metaphor, COGNIZING AS SEEING, which in of

itself employs a metaphor for the mind-space of actual space such that the scope or range of the

mind theoretically becomes wholly untethered, as far as the “mind’s eye” can travel.22 In what

can be aptly designated as an “embodied cognition,” mutual couplings between the behavior of

the body and the neural circuits of the “mind” are mediated through the human experience

inclusive of bodily encapsulation, providing both a structural framework with which to investigate

hugr as well as any underlying inter-conceptual linkages in kennings like vindr trǫllkvenna.23

I.3 Introduction to the Sources

The primary corpus employed in this study is that which concerns Old Norse hugr, consisting

of sixteen examples of hugr in skaldic and skaldic/eddic hybrid poems, seventy-four usages in

eddic poems proper, and the referents to four vindr trǫllkvenna kennings. These can be reviewed

in Appendix A, presented as a contextually categorized “model”.24 In Section II, this study also

surveys ǫnd in eddic poetry and dozens of runestones that contain ǫnd/and. The Skaldic Project

(SkP) editions are used for all skaldic poems and verses except those in Hallfreðar saga and

21 Lakoff and Johnson, Metaphors, 29-30, emphasis my own. Cf. Kövecses, Metaphor, 38-46. 22 This metaphor is variously referred to as UNDERSTANDING IS SEEING, KNOWING AS SEEING, etc. Jaynes, Consciousness,

50, 55-56. Cf. Francis S. Bellezza, "The Mind's Eye in Expert Memorizers' Descriptions of Remembering," Metaphor and Symbolic Activity 7:3 (1992), 120-121., Barnden, “Consciousness,” 327. Barnden, “Metaphor,” 81: this is one manifestation of the metaphor of mind COGNITION AS PERCEPTION. 23 Pfeifer and Bongard, How the Body, 363. Cf. Ebensgaard, “Cognitive,” 7. 24 The data has been configured into subjective contextual groupings, not analyzed in terms of MIND AS PHYSICAL

SPACE or IDEAS AS EXTERNAL ENTITIES. They perform the primary function of utilizing the immediate relevant content surrounding the usage within its respective source, whether within the line, the helmingr, the stanza, or the poem as a whole, and secondary function to grasp both the immediate clausal context and the broader stanzaic or compositional context, ultimately deciding on apt characterizations. The x-axis is governed by a “Love” to “War” organization, in line with the previous studies on vindr trǫllkvenna by Frank, “Unbearable,” 504-506, inversed by Quinn, “Wind.”

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Kormáks saga, for which Finnur Jónsson’s Den Norske Islandske Skjaldedigtning (Skj) is instead

employed.25 The orthographically normalized Íslenzk Fornrit (ÍF) editions are used for eddic

poems, controlled against the Edda of Neckel and Kuhn.26 Runic inscription data comes from the

Scandinavian Runic-text Data Base (SRDB).27

The four vindr trǫllkvenna kennings utilized, all of which appear in verses in dróttkvætt,

“poem/song of the drótt” (ON drótt, “host of the ruler”), are attested to be composed by an equal

number of skalds: Hallfreðr vandræðaskáld Óttarsson, as it survives in Hallfreðar saga, itself

surviving in two variants in two manuscripts, Kormákr Ǫgmundarson, as it survives in Kormáks

saga in Mǫðruvallabók, and by Eyvindr skáldaspillir Finnsson and Guþþormr Sindri, respectively,

as they survive in Snorri’s Heimskringla.28 Hallfreðar saga and Kormáks saga are skáldasögur,

“sagas of skalds,” considered a subtype of the Íslendingasögur, “sagas of Icelanders,” the only

evidence from sagas whatsoever that are included in this study due to a recent dating effort by

25 SkP combines easy navigation, transparent manuscript readings and notes concerning ms. emendations, and internet

search functionality. Skáldasögur lausavísur translations are from “Kormak’s Saga” trans. Rory McTurk, “The Saga of Hallfred Troublesom-poet,” trans. Diana Whaley, in Leifur Eiriksson, ed. Diana Whaley, Sagas of Warrior-Poets (London: Penguin Books, 2002). 26 Gustav Neckel and Hans Kuhn, Edda: Die Lieder des Codex Regius (Heidelberg: Carl Winter, 1962). Searches of eddic poems began with Robert Kellogg, A Concordance to Eddic Poetry (East Lansing: Colleagues Press, 1988). 27 Accessed at the web client at http://rundata.info. The runic corpus can be alternatively dated by runic orthography, language changes in Proto Norse or Old Norse, and particularly in terms of Viking Age inscriptions of Uppland by visual dating on stylistic grounds developed most prominently by Anne-Sofie Gräslund, "Dating the Swedish Viking-Age rune stones on stylistic grounds," in Runes and their Secrets: Studies in runology, ed. Marie Stoklund et. al. (Denmark: Museum Tusculanum Press, 2006). 28 Margaret Clunies Ross, A History of Old Norse Poetry and Poetics (Cambridge: D. S. Brewer, 2005), 21, 24, 44: skalds

may have been members of an elite household of hand-picked warriors serving a king or earl with the primary function of composing memorable, eulogic poems for those they served and recording primary details as they travelled. Dróttkvætt seems to have evolved from the pre-existing fornyrðislag, itself a particularly Norse development from the common Germanic alliterative long line. Gabriel Turville-Petre, Scaldic Poetry (Oxford: Oxford University Press, 1976), XVII: Usage of dróttkvætt involved many regulated features, such as counting both short and long syllables, requiring more stressed syllables per line and a stricter alliteration schematic that pertains to these stressed syllables, and employing internal full rhyme (aðalhending) and half rhyme (skothending). On the prosimetric Kormáks saga and Hallfreðar saga, see Margaret Clunies Ross, “The Skald Sagas as a Genre: Definitions and Typical Features,” in Skaldsagas: Text, Vocation, and Desire in the Icelandic Sagas of Poets, ed. Russell Poole (Berlin and New York: Walter de Gruyter, 2001), 25-30, 41-42. Hallfreðar saga survives in two versions, one in variant mss. of Ólafs saga Tryggvasonar en mesta and the other in Mǫðruvallabók (AM 132 fol), Mǫðruvallabók being the only ms. in which Kormáks saga survives. SkP I, clxvii. Eyvindr skáldaspillir Finnsson’s Lv 11 and Guþþormr sindri’s Hákonardrápa 8 are preserved in mss. of Snorri’s Heimskringla. SkP takes AM 35 folˣ(109r) or Kˣ as the main manuscript for both, and both survive in the Codex Frisianus or Fríssbók, AM 45 fol.

9

Kari Ellen Gade which suggests their respective lausavísur are likely authentic.29 Akin to the

preserved contexts of the lausavísur of Eyvindr and Guþþormr’s Hákonardrápa, the vast majority

of the employed skaldic corpus containing usages of hugr are preserved in konungasögur, “sagas of

kings,” and as such are widely viewed in scholarship as oral-memorial, authentic to the tenth or

even late ninth centuries, originally presented to courts, and surviving relatively intact through

the many generations between the tenth and thirteenth centuries due to the strict rules of the

dróttkvætt meter and the named and thus datable authorship.30

GKS 2365 4to (Codex Regius/Konungsbók), AM 748 4to, GkS 1005 fol. (Flateyjarbók), and

AM 544 4to (Hauksbók) are the primary manuscripts which preserve eddic poems, extant in the

less strict meters of fornyrðislag (which is dominant), ljóðaháttr, galdralag, and málaháttr which,

when paired with their authorial anonymity, both limits and prevents dating methods.31 While

the primary manuscript Konungsbók is thought to date around 1270, it is possible to infer from

Snorri’s Edda, completed around 1220, that Snorri possessed similar versions of Grímnismál and

Vafþrudnismál as well as slightly different versions or knowledge of at least four other eddic

poems at that time.32 Hákonarmál, assigned to Eyvindr skáldaspillir Finnsson in the SkP editions,

29 Kari Ellen Gade, "The Dating and Attributions of Verses in the Skald Sagas,” in Skaldsagas: Text, Vocation, and Desire in the Icelandic Sagas of Poets, ed. Russell Poole (2001), 73: “the lausavísur in Kormáks saga and Hallfreðar saga bear all the marks of having been composed prior to 1014.” This thesis thus excludes poetry by Egill, for example. 30 Cf. Diana Whaley, "A Useful Past: Historical Writing in Medieval Iceland," Cambridge Studies in Medieval Literature 42 (2000), 167: “The only variety of oral tradition that is now believed to have survived more or less intact into the literate era is skaldic verse, preserved by its tight and intricate metre in a way that even legal formulae and genealogies could not match.” SkP I, li: “long court poems and eulogies composed in association with courtly milieux were passed down orally over a long period of time until they were written down on vellum in the twelfth or thirteenth centuries.” 31 Eddic poems are usually thought to belong to or derive from an oral tradition of significant length with an unknown

compositional process. Terry Gunnell, “Eddic Poetry,” in A Companion to Old Norse-Icelandic Literature, ed. Rory McTurk (UK: Blackwell, 2005), 83: while it is extant in written form which is read, eddic poetry as oral poetry may entail oral and visual reception in performance. Robert Kellogg, "Literacy and Orality in the Poetic Edda,” in Vox intexta: Orality and Textuality in the Middle Ages, ed. A. N. Doane et. al. (Madison: University of Wisconsin Press, 1991), 91: GKS 2365 4to is written in a single hand and suggests that the Compiler and the scribe are not the same person. Ursula Dronke, The Poetic Edda, Volume II: Mythological Poems (Oxford: Clarendon Press, 1997), 61: H dates from 1330 to “a little later” than 1350. Margaret Clunies Ross, “The Transmission and Preservation of Eddic Poetry,” In A Handbook to Eddic Poetry, ed. by Carolyne Larrington et. al. (Cambridge: Cambridge University Press, 2016), 18. 32 Terry Gunnell, The Origins of Drama in Scandinavia (Cambridge: D. S. Brewer, 1995), 219-220. These are Vǫluspá, Fafnismál, Lokasenna, and Skírnismál.

10

and Haraldskvæði (Hrafnsmál), attributed variously to either Þorbjǫrn hornklofi or Þjóðólfr ór

Hvini, both of which are used in this study, are instead representative of named and authored

content which would have been privy to metric-derived pliability over time due to the usage of

málaháttr and ljóðaháttr.33

This innate malleability of such eddic/skaldic hybrid poems serves as an apt metaphor in of

itself for the constitutive amalgamative nature of conducting a thorough cross-corpus inquiry into

understanding hugr: any results can at best only be methodologically insulated and mitigated

from the certainty of creating a representation of a time or place which is feasibly, on various

levels, elementally incoherent. Those skaldic poems which can be more reliably dated have been

selectively limited to those evidenced to be composed prior to the very early eleventh century

due to the assumption, which encounters limited support in Section II, that the Christianization

process bore the potential for a rapid and meaningful impact on any range of metaphysical and/or

ontological perceptions, plausibly inclusive of the functionality of “mind.” While tenth-century

dróttkvætt poetry could, in a temporal and cross-milieu sense, portray hugr disparate from any

influence by, for example, the Christian “soul,” the stereotyped nature of skaldic panegyric

necessitates comparison to the more diverse eddic corpus, rendering cautionary results.

II. Dispelling the “breath concept”

This section seeks to evaluate the evidence, if any, that human breath is either a medium for

the permeability of any sense of a “mind, soul” or that any “mind, soul” is itself operatively

conceived as breath. Of utmost centrality to such an inquiry is simply the investigation of

ǫnd/andi, “breath,” but also the relationship, if any, of “breath” to hugr.34 While Mackenzie

33 Fulk, SkP I, 91-94, 171-173: Hákonarmál is a “praise poem” but composed in two eddic meters, ljóðaháttr and málaháttr. Form and content are metrically correlated; málaháttr is employed for battle-scenes, ljóðaháttr for the rest. Authorship of Haraldskvæði is somewhat debated; the poem “is more reminiscent of eddic than of skaldic poetry … in regard to metre, vocabulary, syntax,” as well as frequency and obscurity of kennings, dialogic form, and narrative progress. 34 C-V: andi is a masculine substantive, “breath, breathing,” ǫnd is a feminine substantive, “breath.”

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states that hugr is “nowhere associated” with andi or ǫnd, they do actually appear together in

Hallfreðr’s Erfidrápa Óláfs Tryggvasonar. More critically Mackenzie suggests that andi and ǫnd are

“almost exclusively restricted to Christian registers,” yet few clear-cut Christian or non-Christian

assertions can be made about eddic poems individually or generally.35

Hugr, preceding the import of OE sāwol, “soul” appearing as ON sála, might only be

reasonably seen as a “soul” or “spirit” from a foreign-derived imposed definition if it is not

recognizably offered as such in any primary source; yet “soul” does not exist as a recognizable

concept prior.36 Thus, for example, Eldar Heide conjectures that “the reason why the idea of soul

or spirit is derived from breath is of course that we breathe as long as we live and stop when we

die,” which finds basis in Emile Durkheim’s observational evidence that breath in general is often

a perceived bodily conduit, in which the form of the soul and the body may be linked to breath

and blood due to a perceived diffusion of the soul throughout the body, such that one’s last

exhale may depart the soul.37 A similar understanding was proposed by Sir James George Frazer,

who recognized that “the spirits of the recently deceased [were identified] with the breath,” the

mouth and nostrils being openings of the body from whence the soul may escape.38

However, the Christian tradition reworks any fundamental ties between air or breath as

opposed to a metaphysical and everlasting soul, as in Ælfric’s De Temporibus Anni:39

[…] Ne nan mann ne nyten nafð nane orðunge buton þurh luft. Nis na seo orðung ðe we ut-blawað in-ateoð ure sawul, ac is seo lyft þe we on libbað on ðyssum deadlican life […]

[…] And no man or beast has breath except by means of the air. That atmosphere that we blow out and draw in is not our soul, but rather the air that we live off in this mortal life […]

35 Mackenzie, “Vernacular,” 70. They do appear in different helmingar. 36 For example, ODS preserves hugr as the Old English import, “soul,” deriving from much later conflation. 37 Heide, “Spirits,” 350, further claims that “the notion of soul or spirit is derived from breath, which is moving air, a form of wind … that the soul or spirit of a living or dead person originally is breath, moving air, wind.” Emile Durkheim, The Elementary Forms of Religious Life, trans. Karen E. Fields (New York: Free Press, 1995), 246, 262, adds that the escape of blood beyond the skin is like the flowing and slipping away of the soul, as it too resides in blood. 38 Sir James George Frazer, Taboo and the Perils of the Soul (Hong Kong: The MacMillan Press, 1980), 30-31. 39 Circa 987-1005. OE text from "Ælfric's ‘De temporibus anni,’” in Popular Treatises on Science Written During the Middle Ages in Anglo-Saxon, Anglo-Norman and English, ed. Thomas Wright (London: Historical Society of Science, 1841). English trans. from Ælfric's “De temporibus anni.” ed. and trans. Martin Blake, Anglo-Saxon Texts 6 (Woodbridge: Boydell and Brewer, 2009). Cf. Alcuin (Section III) who confines mens to the body in implicit contrast to the soul.

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This is reiterated by Ælfric in his Homily on the Nativity: “Nor is our breath, which we blow out

and draw in, our soul; but [our breath] is the air in which all bodily things live, except only the

fish who live in water”.40 Exemplified in the scripture of Genesis 1:26, the division saw a more

modern headway in the mid-seventeenth century with the discourse surrounding “material

determinism,” in which a person was both individual and governed wholly by physicality.41 Both

developments, old and new, reinforce the conception of the bounded human body as a biological

container with a wall of skin and flesh, while all else may be attributable to a metaphysical soul.

In the skaldic corpus ǫnd is absent until a uniquely syncretic Christian context in a late poem

by Hallfreðr, a skald active throughout the late tenth century and into the eleventh within the

courts of several Norwegian rulers in a particularly tumultuous political and Christianizing

context.42 In Hallfreðr’s poetry one can actually attest to a graduating acclimation and/or growing

ambiguity towards Christianity.43 This culminates in a unique eschatological concern in Lausavísa

28, his final of Hallfreðar saga, where Hallfreðr relates that he would andask (“breathe his last”),

or die, if he knew that his sála, “soul,” were to be saved, explicitly stating a fear of the

40 Mackenzie, “Vernacular,” 69. Nis seo orþung þe we ut blawaþ. and in ateoð oþþe ure sawul ac is seo lyft þe ealle lichamlice þing on lybbað. butan fixum anum þe on flodum lybbað. Trans. Leslie Lockett, Anglo-Saxon Psychologies in the Vernacular and Latin Traditions (Toronto: University of Toronto Press, 2011), 413: "Nor is our breath, which we blow out and draw in, our soul; but [our breath] is the air in which all bodily things live, except only the fish who live in water." 41 Genesis 1.26: “Let us make man to our image … This image of God in man, is not in the body, but in the soul; which is a spiritual substance, imbued with understanding and free will. God speaketh here in the plural number, to insinuate the plurality of persons in the Deity.” Fowler, Personhood, 58: this was largely due to the work of René Descartes and Thomas Hobbes. 42 See Folke Ström, "Poetry as an Instrument of Propaganda: Jarl Hákon and his Poets," Speculum Norroenum: Norse Studies in Memory of Gabriel Turville-Petre, ed. Ursula Dronke et. al. (Odense: Odense University Press, 1981), 440, 444-445. The violent and political struggle between the Hárfagr dynasty and the Jarls of Hlaðir characterized tenth century Norway. Jarl Hákon is linked to an unprecedented (at that time) nine poets. After his victory and reclamation of the throne, Ström suggests political motivation and a personal pre-Christian religious conviction, rooted in the Hlaðir legacy, for the subsequent poetic upsurge. Skalds entirely depended on tools (such as metaphor and metonymy) from pre-existing concepts, not Christianity. SkP I, 386: when Jarl Hákon Sigurðarson came back to power in 970, Fagrskinna indicates that he emphatically reverted all prior deeds done to the benefit of Christianity. 43 See Diana Whaley, “The ‘Conversion Verses’ in Hallfreðar saga: Authentic Voice of a Reluctant Christian” in Old Norse Myths, Literature and Society, ed. Margaret Clunies Ross (Odense: University Press of Southern Denmark, 2003), on the three dróttkvætt stanzas and two helmingar, “Conversion verses.” Cf. Russell Poole, “The Relation Between Verses and Prose in Hallfreðar saga and Gunnlaugs saga” in Skaldsagas: Text, Vocation, and Desire in the Icelandic Sagas of Poets, ed. Russell Poole (Berlin and New York: Walter de Gruyter, 2001), 138-142, and Ross, History, 120-121.

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punishment of helvíti (Christian “hell”).44 With this in tow, in verse 27 of his eulogic Erfidrápa

for the baptized Oláfr Tryggvason of Trøndelag, composed around the year 1000, we find:45

Fyrr mun heimr ok himnar, áðr an glíkr at góðu

hugreifum leifi, gœðingr muni fœðask

Heimr ok himnar mun fyrr bresta í tvau, áðr an gœðingr glíkr hugreifum leifi at góðu muni fœðask

Earth and heavens will sooner split in two before a chieftain equal to hugreifr Óláfr in goodness might be born.

hann vas mennskra kœns hafi Kristr inn hreini

mest gótt – í tvau bresta, konungs ǫnd ofar lǫndum.

hann vas mest gótt mennskra manna; hafi Kristr inn hreini ǫnd kœns konungs ofar lǫndum.

He was the greatest good among human beings; may the pure Christ keep the ǫnd of the wise king high above the lands.

The compound hugreifr (ON reifr, “glad, cheerful”) can be contextualized within the poem at

large: in verse 2, Óláfr “made hugrekki dear to him” (cf. ON rakkr, “straight, upright,” rekkr,

“straight/upright man”), and in verse 13, Óláfr is “ǫrvan, hugdyggvan” or “swift [and] hugr-

trusty” (ON ǫrr, “swift, ready,” dyggr, “faithful, trusty”).46 All three hugr compounds can, with

little variation, be understood as configured into the metaphorical view of MIND AS PHYSICAL

SPACE (for which, see Section III) which make use of a cardiocentric hugr located in the breast in

order to emphasize “goodness” of character (inclusive of courage).47 Similarly, ǫnd in this stanza

should also be contextualized.

The usage of ǫnd in some five different eddic poems, of which every usage is reviewed in

Appendix B, takes place in a narrow semantic range that always indicates a corporeal sense of

death in which the breath leaves the body, akin to Hallfreðr’s Lv 28, with the exception of ǫnd in

44 Ek mynda nú andask - ungr vask harðr í tungu - senn, ef slu minni, sorglaust, vissak borgit. “I would die now straightaway and without sorrow – I was harsh of tongue in my youth – if I knew that my soul were saved.” ON and trans. Poole, “Relation,” 157. C-V relates that this is the first usage of sála. Cf. víti, “punishment.” Heide, “Spirits,” 350: ON anda is representative of the double meaning “to breathe, to expire,” paralleled for example in Latin exspīrō, meaning “out-breathe,” signifying both exhaling and dying. 45 Trans. Heslop, SkP I, 439. Emphasis my own. On both Óláfr Tryggvason and this verse, see Diana Whaley, "Christian and Pagan References in Eleventh-Century Norse Poetry: The Case of Arnórr Jarlaskáld," Saga-Book of the Viking Society 21 (1982), 34, 39. On Óláfr, see SkP I, cci-cciv. C-V: ON erfi, “funeral feast.” 46 […] lét […] hugrekki þekkja sér. Note the allusion to flight in verse 2: skyldir hauka “the commander of hawks [RULER = Óláfr],” and the implied container metaphor in verse 13: Hverr maðr und jaðri sólar vas hræddr. “‘Every man under the borderland of the sun’ was afraid [of Óláfr],” both of which find manifestation in verse 27. On one other usage of hugr in Hallfreðr’s Erfidrápa, see Section VI. Zoëga: hug-rakkr, hug-rekki, “courage, intrepidity.” 47 Cf. ODS: hugprud, equivalent in meaning to “hug-proud.” See Section III on these passages.

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the Askr and Embla passage of Vǫluspá 18.48 Furthermore, there are a vast series of runestones

which, in their respective memorial formulae, synonymously relate ǫnd with the imported “soul,”

for which see Appendix C, which Terje Spurkland states was brought to Scandinavia by English

missionaries.49 McKinnell, Simek, and Düwel relate that nearly two-hundred eleventh-century

runestones in Uppland use ǫnd in such a memorial formula, but a full survey of the SRDB reveals

the practice was much more widespread, extending from Bornholm to Norway to Medelpad.50

The formula generally manifests along the lines of “guð hjalpi ǫnd hans,” or “God help his

‘spirit’”.51 Spurkland adds that perhaps the first appearance of sála in Norway is on N A53, which

SRDB dates to the first half of the eleventh century, perhaps preceded by IM (Isle of Man)

MM101, which Spurkland states could date into the tenth century.52 The synonymous usage of

sála and ǫnd on many of these inscriptions or even ǫnd replacing sála altogether makes it clear

that their semantic fields must eclipse, doing so in a context that is both memorial and

eschatological, not unlike Hallfreðr’s Erfidrápa.

The dating of this runic-attested semantic coalescence to the very close of the tenth century

and particularly probably the early eleventh roughly matches that of Hallfreðr’s Erfidrápa 27 and

potentially his Lausavísa 28, suggesting that if there was any pre-existing notion of the departure

of breath at death, for example, as extant in some eddic poems, there was an almost immediate

intermixing or succession with the notion of the moving on of the Christian soul, or feasibly an

48 On ǫnd in Vǫluspá 18 see Kees Samplonius, "Lá gaf Lóðurr: Notes on Vsp. 17-18," Amsterdamer Beiträge zur Älteren Germanistik 76:4 (2016), and the possible ties to Isidore, Bede, and Byrthferth. 49 Terje Spurkland, Norwegian Runes and Runic Inscriptions (Woodbridge: Boydell Press, 2005), 134-135, adds that

“this word has never been documented in a pre-Christian context.” Appendix C is a comprehensive list excepting the dense Uppland and Södermanland regions; the 36 in Södermanland were individually confirmed. Dates from both SRDB and Gräslund, “Dating,” are given. 50 John McKinnell et. al., Runes, Magic and Religion: A Sourcebook (Wien: Fassbaender, 2004), 173, relates that nearly two-hundred eleventh-century Swedish runestones use the formula “may God help his/her spirit/soul,” interchangeably using ǫnd/and and sála; some use both. 51 For example, on RAK style U 69: “[…] Guð hjalp hans ǫnd ok sálu betr en hann gerði til […],” or “may God help his ǫnd and sála better than he deserved”. Trans. SRDB, U 69. 52 Spurkland, Norwegian, 136.

15

eschatological conflation between the breath leaving and the soul leaving.53 Within this context,

and in consideration of the transparent Christianizing underpinnings of Hallfreðr’s Lausavísa 28

and Erfidrápa Óláfs Tryggvasonar at large, there is little reason to doubt that ǫnd in Erfidrápa 27

indicates the Christian soul, which is not to say the usage might not be somewhat syncretic.

These findings suggest evidential agreement with Mackenzie and Flowers that there is little

support for an early “breath concept,” in which breath is a conduit in life, which is not to say that

critical aspects of the underlying premise of the studies by, in particular Heide but also Strömbäck

and Alver, are certainly not in existence in this earlier period.

III. Metaphors of Mind and Old Norse hugr

Old Norse hugr is defined in C-V first and foremost as “mind, with the notion of thought,”

for Flowers the root *hug- best indicates the seat of various psychic functions, and in two studies

in 1987 and 1988, Heinrich Beck concluded that “hugr denotes an abstract, non-visual entity,”

which is the “cognitive aspect of spiritual existence”.54 Flowers would see this root widely

evidenced in Gothic, Old High German, Old Saxon, Old English, Old Frisian, and Old Norse,

attestations which underly a close link to “the reflective and volitive areas” of the semantic field

of cognition, and “a non-specific quality around which certain intellectual qualities aggregate”.55

The recognition of such a widespread manifestation has not resulted in any agreed upon

etymology for the term, and until recently, further clarification seems to have been absent.56 In a

53 Cf. Lockett, Anglo-Saxon, 413, who states that “the perception of the soul as identical to the air that enters and

leaves the lungs is likely the same popular perception that underlay the frequent narrative depictions of the soul leaving the breast at death.” 54 Flowers, “Toward,” 126. Heinrich Beck, “Seelenwörter des Germanischen,” in Althochdeutsch 2, ed. Rolf Bergmann

et al., (Heidelberg: Carl Winter, 1987), 995. Trans. Gurevich, SkP III, 965. Heinrich Beck, “Heroic Lay and Heroic Language,” Scandinavian Studies 60:2 (1988), 142. 55 Flowers, “Toward,” 126. OHG hugu, “spirit, mind, sentiments,” OS hugi, “spirit, mind, heart,” OE hige, “mind, heart, soul,” OFris. hei “mind,” ON hugr, “mind, mood, heart, desire, foreboding, courage.” 56 Jan de Vries Altnordisches etymologisches wǫrterbuch. (Leiden: E. J. Brill, 1977), 265, and Flowers, “Toward,” 126, see ON hugr primarily with an unknown etymology, both of which first acknowledge either *keuk- “to shine,” or Lith. kaũkas. The most relevant etymology is that proposed by Joos Mikkola, “Baltische etymologien,” in Beiträge zur Kunde der indogermanischen Sprachen 22, ed. Adalbert Bezzenberger et. al. (Göttingen: Vandenhoeck und Ruprecht, 1897), 239-241, who would see Lithuanian kaũkas hinge on a proposed *kukí-, resulting from a Germanic *huʓì, itself responsible for ON hugr. Mikkola’s premise is that both kaũkas and ON hugr have to do with ancient soul beliefs, and

16

recent publication with the intent of exploring Old-Norse Icelandic personhood constructs,

Mackenzie proposes a discerning factor in the way in which hugr is used contra the modern

understanding of “mind”: “Although it shares thinking and knowing with mind, hugr is different

from mind … [it] is not responsible for someone’s ability to think or to know things, as mind is.

Rather, someone thinks about things with one’s hugr”.57 This proposal might be taken to mean

that hugr is being suggested as a permeating or entity, rather than any root for mental operations;

the difference between cognizing performance and implanted cognition.

The most straightforward example of the functionality of hugr is in Hamðismál 27, which

links hugr to the cognate verb hyggja, “to think”: Hug hefðir þú, Hamðir, ef þú hefðir hyggjandi,

mikils er á mann hvern vant er manvits er, or “Hugr you would have (ON hafa, “to have, keep,

hold) Hamðir, if you would have hyggjandi (“thinking”); much is to a man who lacks that which

manvits is”.58 The present participle of hyggja is thus suggested in Hamðismál as the actionable

requirement in order to “have” hugr, such that if one “can think,” then they have hugr. This

notion is subsequently linked to ON mannvit or “understanding,” compounding mannr, “person,”

with vit, which both C-V and Zoëga see as denotive of “consciousness, cognizance, reason,” a

linkage to which Heinrich Beck would interpret as vit conceptually encompassing hugr and

hyggjandi.59 In support Beck offers Atlamál 3, in which hyggja takes mannvit in the dative: horsk

var húsfreyja, hugði at manviti, or “wise was house-Freyja [Guðrun], attended to person-

cognizance” (or “understanding”).60 Beck implicitly constructs a hierarchy such that, in order to

for Mikkola, hugr is “sinn, seele.” Lithuanian kaũkas means “spirits, mental powers, fiends, goblins, sound;” see rūķītis, gars, kaũkas at: “Lietuvių kalbos išteklių informacinė sistema,” http://lkiis.lki.lt/, (accessed April 20 2020). 57 Colin Peter Mackenzie, "Exploring Old Norse-Icelandic Personhood Constructs with the Natural Semantic Metalanguage," in Heart-and Soul-Like Constructs across Languages, Cultures, and Epochs, ed. Bert Peeters (New York: Routledge, 2019), 121. 58 Hamðismál 27: Hug hefðir þú, Hamðir, ef þú hefðir hyggjandi, mikils er á mann hvern vant er manvits er. C-V: hyggja means “to think” in the sense of meaning and believing, or with an underlying sense of intentionality. Beck, “Heroic,” 143-144 discusses this passage, concluding that hugr means “intellect and courageous disposition, not necessarily coupled with wisdom.” 59 Ibid. 60 Ibid., 144.

17

be horskr, “wise,” one must first use the capabilities of hyggja, “to think,” such that one may

“possess” hugr, to then have mannvit, “person-cognizance.”

Eschewing for the moment the limited evidence of this proposal, understanding vit relative to

the semantics of “cognizance” allows for consideration of this proposition in a cognitive

framework. Cognizance can be contemporarily defined as “the knowledge acquired from

cognizing,” as incorporated into cognition.61 Cognition is generally “the action or faculty of

knowing,” and is the foundation upon which cognizing takes place, cognizing meaning “to take

cognizance of, take note of, notice, observe, perceive” or “to make (anything) an object of

cognition”.62 A more technical definition within cognitive science views cognition as the internal

process generating and underlying the capacity within the autonomous brains of cognizers, which

perform input/output operations stretching “from the proximal projection of distal objects, events

and states onto the cognizer’s sensory surfaces”.63 Such a performance of cognizing may be

represented in Hymiskviða 14, in which the hugr “reported” information (ON segja, “to say, tell,

report”), the same role that Snorri ascribes to Huginn in Gylfaginning and Ynglingasaga: sagðit

honum hugr vel, þá er hann sá […], or “hugr reported well to him, then when he saw […]”.

In other words, whereas cognition is the generator, cognizing is the action which occurs in the

biological brain that gives rise to its input/output performance capacity.64 Cognitive scientist

Steven Harnad states that sensorimotor system dependent organisms such as humans cognize

categorically, to which effect Ana-María Rizzuto writes that the individual human mind can

“know only its own representations,” which are broadly two categories constructed by the

mediation of our bodies: an external world and the domain of internal unconscious processes.65

61 OED, “cognizance, cognisance, n.,” 1a, 2a. 62 OED, “cognition, n.,” 1a, 2a, “cognize, cognize, v.,” 2, 3. 63 Steven Harnad and Itiel E. Dror, “Distributed Cognition: Cognizing, Autonomy, and the Turing Test,” Pragmatics & Cognition 14:2 (2006): 209-213. 64 Ibid., 209. 65 Harnad, “Cognize.” Ana-María Rizzuto, "Metaphors of a Bodily Mind,” Journal of the American Psychoanalytic

Association 49:2 (2001).

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This dichotomy can be interpreted to underly Barnden’s discussion of two “general metaphorical

views,” or metaphors of mind related to consciousness: mind can be portrayed as a physical space,

represented by the conceptual metaphor MIND AS PHYSICAL SPACE, but mind can also be

portrayed as “thought, idea,” or as other products of the performance of cognizing, represented

by the conceptual metaphor IDEAS AS EXTERNAL ENTITIES.66

In the view of MIND AS PHYSICAL SPACE, the space of the “mind” is at least partially somatic or

existing within the person, functioning as a physical

region in which products from the performance of

cognizing such as ideas, thoughts, hopes, desires, images,

emotions, feelings, or “events” of any of the above, lie at

various positions within the region and can move both in

and out of the region as a whole as well as to different

positions within the region.67 For example, in this view,

one might “put” an idea into someone else’s mind, one

might “think” about something in one part of their mind,

or ideas might be “brought” together in one’s mind.

Conversely, in IDEAS AS EXTERNAL ENTITIES, ideas or

thoughts are conceived as external to the agent, in which

“the whole agent, body and all, is conceived of as being within the idea-populated external space,

66 Barnden, “Consciousness,” 316-318, 327-328. Barnden, “Metaphor,” 81. ATT-Meta PD, “Mind as Physical Space, Ideas as External Entities.” John A. Barnden, “Mixed metaphor: Its depth, its breadth, and a pretence-based approach” in Mixing Metaphor, ed. Raymond W. Gibbs, Jr. (Amsterdam: John Benjamins, 2016), 84-89: MIND AS PHYSICAL SPACE, for example, has two “correspondence rules” which produce correspondences and mappings between the contents of a pretence and contents outside the pretence; there is a pretence, or “aspects of some source subject matter,” which in this case would be “an agent’s ability to mentally use an idea,” and second there is a target subject matter “in the reasoning space surrounding the pretence,” which would be “the idea being physically located somewhere within the agent’s mind metaphorically viewed as a physical space.” In terms of the ON corpus this often means verb semantics and transitivity as well as directional prepositions. Alan Wallington et. al., “Metaphorical Reasoning with an Economical Set of Mappings,” in DELTA: Documentação de Estudos em Lingüística Teórica e Aplicada 22 (2006), 155-158: In MIND

AS PHYSICAL SPACE, “the person’s conscious self is viewed as a person physically located in that space.” 67 Barnden, “Consciousness,” 314-316. ATT-Meta PD, “Mind as Physical Space.” Barnden, “Mixed,” 85.

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and no space within the person’s [body] is taken into account”.68 As such, the entire embodied

human agent is within a space populated by “ideas” or “thoughts,” or the agent is being within this

external space, perhaps as a “wandering entity,” such that hugr as “mind, idea, thought” is

extrasomatic.69 For example, in this view, an idea might “come” to a person, an idea might “tug”

at a person, an emotion might “slam” back at a person, or a person might “shake off” unwanted

thoughts.

These conceptual metaphors are not necessarily mutually exclusive: in individual cases it may

not be possible to tell which view is being portrayed. For example, under both views it is possible

that the agent can move relative to any “ideas” or “thoughts” or physically manipulate them,

which represents IDEAS AS PHYSICAL OBJECTS, and it is possible too that in MIND AS PHYSICAL

SPACE, the space can become larger than the body itself, such that the space of the mind extends

extrasomatically outside the person, eclipsing that which is most diagnostic of IDEAS AS EXTERNAL

ENTITIES.70 This latter point is one worth elaborating on: in both views some part of the mind forms

a space that is outside the person; the categorically external world of objects of one’s performance

of cognizing.71 Nonetheless, by contextually discerning individual usages of hugr as potentially

representative of such a somatic physical space or as such an external entity, which has much to

do with the semantics and transitive quality of verbs, directional prepositional phrases, and

grammatical number, it becomes possible to test if hugr may or may not have been portrayed as

an extrasomatic entity which might be translated as “mind, idea, thought”.72 If hugr was portrayed

as in the view of IDEAS AS EXTERNAL ENTITIES, it would be apt to state that hugr may perform at

68 Barnden, “Consciousness,” 316-317, 327-328. 69 Antonina Harbus, "The Maritime Imagination and the Paradoxical Mind in Old English Poetry," Anglo-Saxon

England 39 (2010), 21. Cf. Frank, “Unbearable,” 501-502: “the mind (hyge, modsefa) […] is portrayed as a dangerously free spirit […] once loose, it flies over land and sea, like Huginn […].” Cf. Barnden, “Consciousness,” 316-317, 319. 70 IDEAS AS PHYSICAL OBJECTS: Barnden, “Consciousness,” 318, 325-326., Wallington et. al., “Metaphorical,” 156:

The correspondence is such that a physical object “idea” can be enacted upon by the conscious self as a physical person. ATT-Meta PD: “Ideas as Physical Objects.” 71 Cf. Barnden, “Consciousness,” 327. 72 Cf. the application in Matthew Aaron Sherwood, “An Analysis of Conceptual Metaphor in the Professional and

Academic Discourse of Technical Communication,” (PhD diss., Texas A&M, 2004), 55.

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least the most basic functionality suggested for the “breath concept”: the hugr would be

transgressive, in that, as Mackenzie proposes, one might think with the hugr such that it “reports”

to a bodily sense of mind.

Before this study commences examining hugr in this way, MIND AS PHYSICAL SPACE must be

contextualized in terms of where exactly hugr is evidenced to be located within the body, which

cannot be assumed to be cephalocentric (centered around the brain) as in modern, Western

perception. The scholarly consensus is instead that in Old Norse there is a cardiocentric

psychology (centered around the heart), or at least in the breast, to which we might say that acts

of cognizing “report” not to the head, but to the breast, to the body, either whether the heart is

precisely, or in the same region in which we feel emotion. A cardiocentric orientation to hugr as

possibly portrayed in either metaphorical view forces a reconsideration of the entanglement of

“mind” and “emotion” and oft-translated notions like “courage,” or “that quality … which shows

itself in facing danger without fear”.73

Although hugr itself is not attested in any early kennings for [BREAST] substantiating Snorri

in Skáldskaparmál 70, which denotes the breast as land hugar, “land of hugr,” the normal

dwelling of the hugr in the breast is explicit in the skaldic invocation of Úlfr Uggason’s Husdrápa

and feasibly conceptually implied in Einarr Skálaglamm Helgason’s Vellekla.74 In Husdrápa 1, the

water of the breast of Óðinn is the poem itself, in which the breast is geðfjǫrðr (“geð-fjord”), a

container of water.75 Geð may denote “mind” in the sense of “mood, temper,” configuring the

breast as the place where Óláfr is subsequently hugreifr (ON reifr, “glad, cheerful”).76 In Vellekla

73 OED: courage, n., 4a. 74 Skáldskaparmál 70: Brjóst skal svá kenna at kalla hús eða garð eða skip hjarta, anda eða lifrar, eljunar land, hugar ok

minnis. Trans. Faulkes: “the breast shall be referred to by calling it house or enclosure or ship of heart, spirit or liver, land of energy, hugr and memory.” Cf. Háttatal 50, Gade, SkP III: hof hugtúns firum, “into the temples of the mind-meadow [BREAST > HEADS].” 75 Telk hugreifum leifi l geðfjarðar Hildar hjaldrgegnis. “I recite the water of the hugr-fjord [BREAST] of the promoter of the noise of Hildr <valkyrie> [BATTLE > = Óðinn > POEM] for the hugreifr Ólafr.” 76 C-V: geð, “mind, mood, wits, senses, spirits.” Zoëga: “disposition, liking.”

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1, the poem is brim dreggjar fyrða fjarðleggjar, or “surf of the dregs (yeast) of the men of the fjord-

bone,” which conceptually implicates the space or place of the dvergar, “dwarves” as “bone in

water-container [ROCK],” imagery which may parallel the bodily space in which the skald refers

to Hákon Jarl as hugstóran vǫrð foldar (“strong-hugr guardian of the land”).77

There is much wider support in a number of eddic poems. In Þrymskviða 31, hugr “laughed

into [the] breast of Þórr,” when, harðhugaðr (“hard-intended”), he recognized his hammer.78 The

emotionally indicative compound harðr-hugr appears elsewhere, as does the inverse blíðr-hugr

(“gentle, soft”), either of which can be understood as IDEAS AS PHYSICAL OBJECTS in which hugr

might be either repulsive and rigid, or mild and malleable.79 In Guðrúnarkviða III 10, “laughed

then Atli, hugr in breast”.80 In Hávamál 95, “the hugr alone ‘knows’ what is residing near the

heart” (ON vita, “to wit, have sense, be conscious, know”), and subsequently in verse 121,

“sorrow eats heart,” if you cannot manage to find someone to speak to about all hugr.81 In the

Vǫluspá hin skamma section of Hyndluljóð, a “hugr-stone” of a woman is her heart, and in

Guðrúnarkviða I 14, hugborg (ON borg, “stronghold, town”) is the breast upon which Sigurðr was

scored.82 All the above examples would support the thesis that hugr is located in the body, not

the head. This support can be cognitively paraphrased by the conceptual metaphor BODY IS A

77 Hustar/hugstor survives in ODS: “hugr-strong.” 78 Hló hlórriða hugr í brjósti, er harðhugaðr hamar um þekkði. 79 See Appendix A, “Hard/Soft.” For example, in Atlamál 34: Bera kvað at orði, blíð í hug sínum. “Bera spoke to word,

gentle in her hugr.” Helgakviða Hjǫrvarðssonar 6: Ef þú æ þegir, þóttu harðan hug. “If you are being silent, they reckon you have a hard hugr.” Cf. the insults in Harbarðsljoð 26, 49. 80 Guðrúnarkviða III 10: Hló þá Atla hugr í brjósti […]. 81 Hávamál 95: Hugr einn þat veit er býr hjarta nær. “Hugr alone knows that which resides near [the] heart.” Hávamál 121: Sorg etr hjarta ef þú segja né náir einhverjum allan hug. “Sorrow eats heart if you cannot get hold of anyone to relate all hugr.” 82 Hyndluljóð 41: Loki át af hjarta lindi brenndu, fann hann hálfsviðinn hugstein konu. “Loki ate from heart burned by

lime-tree, found he half-singed hugr-stone of woman.” Guðrúnarkviða I 14: […] Hugborg jǫfurs hjǫrvi skorna. Cf. Sigurðarkviða hin skamma 60: þvíat honum Guðrun grýmir á beð snǫrpum eggjum af sárum hug. “Because of [the death of Atli] Guðrun grýmir (smeared blood?) into bed by whetted (sharp) edge from sore hugr.” Schorn, Handbook, 273: ON grýma is nowhere else attested, and its meaning is not agreed upon. If IDEAS AS PHYSICAL OBJECTS applies there may be the notion of a “sharp” mind such that Guðrun can take revenge due to quickening and incitement from a sore hugr. Hugsaor or hug-sár survives in ODS, indicating a hugr-wound, like a cut. See Section VI.

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CONTAINER FOR THE MIND, evincing a view in which the body and breast may operate as an

enclosure for the hugr, with the capability to either keep things in or out.83

In turn, hugr is directly tied to physiological responses such as “feelings” because the

embodied hugr is located in the place where humans tangibly feel emotion; Kirsi Kanerva writes

that “the existence of the mind, emotions, and intellectual powers in general [become] physical in

nature [because] the mind was situated in the chest,” effectively concentrating the mind,

emotions, and intellectual powers in one physical place, such that “the body became the mirror of

the mind”.84 Drawing from both Old English and Old Norse sources, Roberta Frank states that

both OE hyge and ON hugr render “an inner state or experience” tied to emotions which can be

loosened, flying over land and sea, and “sometimes represented as a kind of breath,” such that the

closeness of the mind and the heart are tied to a close association of mood and emotion.85

Remarking on the “shifting semantic field” of hugr, Judy Quinn relays that the meaning of hugr is

better seen as “attitude,” with the reasoning that when the hugr of an individual is described,

whether “a warrior or a poet or both,” it seems “they were attesting to his mettle”.86

Mackenzie adds that cognition and emotion are located within the chest, both of which can

be the responsibility of hugr, such that hugr and hjarta may overlap in functionality, yet hugr is

almost exclusively responsible for cognitive functions.87 C-V further suggests that hugr is

denotive of “mood, heart, temper, feeling, affection,” or “desire, wish,” as a “notion of

foreboding,” or “courage.” OE hyge, which appears some 170 times in the extant Old English

83 Britt Mize, “Manipulations of the Mind-as-Container Motif in Beowulf, Homiletic Fragment II, and Alfred's Metrical Epilogue to the Pastoral Care,” The Journal of English and Germanic Philology, 2008. Britt Mize, “The representation of the mind as an enclosure in Old English poetry,” in Anglo-Saxon England 35, ed. Godden et. al. (Cambridge: Cambridge University Press, 2006). Cf. Haley-Halinski, “Kennings,” 58. 84 K. T. Kanerva, "Ógæfa as an emotion in thirteenth-century Iceland," Scandinavian Studies 84:1 (2012): 7. This

understanding hardly removes the vital role of the head, which is nonetheless where our “brains” are, as Grímnismál reminds us, and where are located sensory inputs and the respiratory passages of the mouth and nose. ODS preserves hugr as hu, “mind, disposition, thought-world, thoughts, mindset/mood,” as a willful mind and an emotional mind. 85 Frank, “Unbearable,” 501-502: OE The Seafarer, the raven of Óðinn Huginn, and Útgarðr-Loki's Hugi. 86 Quinn, “Wind,” 212. 87 Mackenzie, “Vernacular,” 54, 91, 93, 104-105, 122: hugr and hjarta may overlap in terms of “courage” and “fear.”

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corpus, is attributed a similar semantic field of “mind, heart, soul” by B-T. 88 The most thorough

semantic field for hugr comes from ONP, which glosses four important meanings: one as mind,

thought, consciousness, or emotion; two, as state of mind, mood/temper; three, as love, affection,

sympathy; and four, as courage, boldness, battle-spirit.89

Some sources do tie hugr directly to emotion: in Guðrúnarkviða III 1, Atli is “sad, grieved,” in

hugr (ON hryggr), in Helgakviða Hundingsbana I 31, some folks are presented “with hugr of

hermðr” (ON hermð, “vexation, anger), and in Sigurðarkviða hin skamma 9, a wildly upset

Brynhildr comes to comfort herself with a “grim hugr” (ON grimmr, “grim, stern, savage”).90 In

addition to the polarities of a “soft” or “hard” hugr is another binary which holds relatively less

diagnostic value, that of a “good” or “bad” hugr.91 The conceptual metaphor MIND AS PHYSICAL

SPACE offers one way in which to understand the abundant number of representations of a

“whole” hugr (ON heill), a “full” hugr (ON fullr), and “from all hugr” (ON allr), pertinent to both

cognition and tangibly felt emotion, such that if the whole space of hugr is filled or if one uses

the whole space of hugr then a person or an act may be wholesome, sincere, wise, courageous, or

other qualities in the same effectual direction.92

For example, Atlakviða 12 combines these ideas of being “whole” and “wise,” in which

Hǫgni instigates a journey on horse-back: heilir farið nú ok horskir, hvars ykkr hugr teygir, or “[you

both] fare now whole and wise, wheresoever your hugr stretches” (ON teygja, “to stretch out,

spread, allure”). In parallel with their subsequent real geographical travel, it may be that their

88 Soon-Ai Low, “Pride, Courage, and Anger: The Polysemousness of Old English Mōd,” in Verbal Encounters: Anglo-Saxon and Old Norse Studies for Roberta Frank, ed. Antonina Harbus et. al. (Toronto: University of Toronto Press, 2005), 77. B-T, hyge. 89 For the first meaning see specifically hugr + allr, heilr, bjóða, hafa, juxtapositions with hjarta, segir, gera (sér), snúa hug, “to turn hugr,” vera/verða í hug, koma hug/í hug, leggja, leikr, renna, and setja, “to set.” For the second type, examples of usages are with hlær (“warm, mild”), harðr, “hard,” and heilr, “whole.” For the third type, note the combinations with falla, “to fall.” For the fourth type, see usages with frýja, “to defy,” or herða, “to make hard.” 90 Guðrúnarkviða III 1: Er þér hryggt í hug? “Are you sad in hugr?” Helgakviða Hundingsbana I 31: En þeir sjálfir frá Svarinshaugi með hermðar hug her kǫnnuðu. “But those selves from Svarinshaugr with hugr of anger explored [the] army.” Sigurðarkviða hin skamma 9: Verð ek mik gœla af grimmum hug. “I happen to comfort myself with grim hugr.” 91 On these see Appendix A, the category “Good/Bad.” 92 See Appendix A. C-V gives heill as metaphorically meaning “true, upright,” but also “sincere.”

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respective hugir are so “whole” and “wise” that it exceeds the typical bounds of MIND AS

PHYSICAL SPACE, such that the hugr “stretches.” In Reginsmál 13, Lyngheiðr (so says the prose

interlude) gives this advice to Reginn: bróður kveðja skaltu blíðliga arfs ok œðra hugar, or “you shall

address your brother concerning inheritance pleasantly and of higher hugr.” The notion of being

“high-minded” is wholly current and can also be considered in terms of MIND AS PHYSICAL

SPACE. Coupled with blíðligr, “pleasantly,” cognate to blíðr, “soft,” related to IDEAS AS PHYSICAL

OBJECTS, exudes a portrayal such that Reginn should be both more principled and softer in

demeanor. “Courage” is prevalent and particularly well-represented in verses like Atlamál 51,

Helgakviða Hundingsbana II 24 (equivalent to Helgakviða Hundingsbana I 46), and Hymiskviða 17,

but can seemingly also be connotated by means of a “whole,” “good,” or “full” hugr.93

It is to the interplay between the cardiocentric and thus physiologically and emotional

grounded orientation to BODY AS A CONTAINER FOR THE MIND and the metaphorical view MIND AS

PHYSICAL SPACE that can be suggested to underly Antonina Harbus’ findings concerning Old

English poetry, who writes that there was a “need to store the precious contents of a wise mind

securely and to share them in appropriate company sparingly”.94 To this same end Frank adds,

“in the Anglo-Saxon mapping of interior being, of the heart’s invisible life, the mind … closely

associated with mood and emotion … [is] an unruly, passionate faculty normally kept under lock-

and-key by something else”.95 In fact, what we find in Hávamál is an embedded intent to protect

one’s hugr intertwined with a need to share it in order to be close, combined with an interest in

fickleness and hugr control.

93 Cf. OED courage, n. 1a: “the heart as the seat of feeling, thought, etc.” Atlamál 51: Hǫggva svá hjálma sem þeim hugr dygði. “[Of] helmets so strike, as for them hugr sufficed.” Helgakviða Hundingsbana II 24: Þeir merkt hafa á Móinsheimum at hug hafa hjǫrum at bregða. “They indicated at Moinsheimr that [they] have hugr to brandish swords.” Hymiskviða 17: Hverf þú til hjarðar, ef þú hug trúir. “Turn you toward [the] herd, if you trust in hugr.” 94 Harbus, "Maritime,” 21, 30: any portrayal of hugr may bear the (unachievable) ideal that “wayward thoughts need to be restrained, and the contents of the mind guarded.” Cf. Mackenzie, “Vernacular,” 119, which states that in ON like in OE, “there is a preference for keeping one’s feelings hidden and not expressing them … keeping one’s feelings hidden from all but the most trusted friends characterizes almost all of Old Norse-Icelandic social interaction.” 95 Frank, “Unbearable,” 501-502.

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In Hávamál 106, Óðinn admits giving “a poor recompense” for the whole hugr and strong

sefi of Gunnlǫð, intimating that such wholeness and strength might best be done with caution, a

notion finding reaffirmation in Hávamál 117, which advises that “[a] bad man never brings you

payment of a good hugr”.96 This then leads to a fickleness (ON brigðr) of hugir by men towards

women and vice versa, such that one may be fair speaking but false thinking, a cautionary

approach that is seemingly lauded for the “good woman”.97 Nonetheless, the sixteenth rune of

the rúnatal in Hávamál 161 offers the male shortcut through any such apt fickleness: in order to

possess (ON hafa) all geð of a ”wise” woman and have sexual relations, plural hugir can be turned

(ON hverfa, “to turn round, to surround,”) which changes her sefi, “affection”.98 Therefore, if

you meet someone you trust poorly and you are suspicious of their geð, you should protect

yourself by imitating them and laughing and speaking about hugr.99 The only overtly indicated

moment to reveal yourself properly is thus among the affinity of a marriage connection, when the

whole hugr should be reciprocally and honestly shared.100

With the schematic of a cardiocentric hugr intrinsically paired with emotion securely in tow,

we can individually and contextually examine whether hugr might be portrayed as in the view of

MIND AS PHYSICAL SPACE, or as in the view of IDEAS AS EXTERNAL ENTITIES. We have already

96 Hávamál 106: Ill iðgjǫld lét ek hana eptir hafa síns ins heila hugar, síns ins svára sefa. “[A] poor recompense I yielded her [Gunnlǫð] for the whole hugr of her, the strong sefi of her.” Hávamál 117: Þvíat af illum manni fær þú aldregi gjǫld ins góða hugar. 97 Hávamál 91: Brigðr er karla hugr konum; þá vér fegrst mælum, er vér flást hyggjum, þat tælir horska hugi. “[The] hugr

of men is fickle to women; when we fairest speak, then we are false thinking, that entraps the wise hugr.” Hávamál 102: Mǫrg er góð mær ef gǫrva kannar, hugbrigð við hali. “Much is [a] good girl if [she] recognizes to build hugr-fickleness towards men.” 98 Þat kann ek it sextánda, ef ek vil ins svinna mans hafa geð allr ok gaman, hugi ek hverfi hvítarmri konu, ok sný ek hennar ǫllum sefa. “I know the sixteenth, if I will the swift (“wise”) woman to have all geð and pleasure, I turn hugir of white-armed woman and I change all of her sefi.” Cf. Grógaldr 9. C-V: sefi is “mind” in the sense of “affection.” 99 Hávamál 46: Þat er enn of þann er þú illa trúir ok þér er grunr at hans geði, hlæja skaltu við þeim ok um hug mæla; glík skulu gjǫld gjǫfum. “Yet, about [one] who you trust poorly, and to whose geð you have uncertainty, you shall laugh with them and speak about hugr, [you] shall imitate payment [of] gift.” Cf. Hávamál 121. 100 Hávamál 124: Sifjum er þá blandat, hverr er segja ræðr einum allan hug; allt er betra en sé brigðum at vera; era sá vinr ǫðrum er vilt eitt segir. “Mixed (ON blanda, “to blend, mix”) is that marriage affinity whichsoever advises to report to one [person] all hugr; anything is better than to be fickle (faithless?); that other [person] is not friend (marriage partner) who reports what the other wants to hear.”

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realized how in Hamðismál 27, one “has, keeps, holds” hugr (ON hafa), such that hugr is somatic

and protected in MIND AS PHYSICAL SPACE, akin to Hávamál 161 in which plural hugir are “turned

round, surrounded” connotating a sense of personal invasion appropriate to its context, and how

for Hallfreðr, the hugr of Óláfr was able to be “glad, cheerful” (ON reifr), “straight, upright” (ON

rekkr/rakkr), “swift, ready” (ON ǫrr), and “faithful, trusty” (ON dyggr), which seemingly map

idealized human qualities onto a somatic and “character”-connected hugr.101 There are some five

critical examples from eddic poetry in which the semantic field of hugr has been proposed to

eclipse that of “thought,” which can be defined in terms of the performance of cognizing as “the

product of mental action or effort”.102

In Sigurðarkviða in meiri (Brot af Sigurðarkviðu) 10, Guðrun responds to Brynhildr concerning

the killing of Sigurðr with heiptgjarns hugar hefnt skal verða, “[of] deadly war-eager hugr shall

become avenged.” Hugr appearing here in the genitive singular suggests that the best translation

sees it as “intent,” consistent with a somatic MIND AS PHYSICAL SPACE, in which hugr can stand for

an executed ambition and plan by another agent. A similar usage of intent, if differing in quality

of intention, could be reflected in N B380, a late twelfth-century runestave from Bryggen,

Bergen: “hail to you,” ok í hugum góðum (and in good hugir), “may Þórr receive you, may Óðinn

own you”.103 In Guðrúnarkviða II 6, we instead find a context of ponderance and decision-making

in which Guðrun “turns” around her plural hugir by the same verb usage of Hávamál 161, but in

this case indicative of a sense of “wavering”: lengi hvarfaðak, lengi hugir deldusk, or “long I turned

round, long hugir divided themselves” (ON hverfa, ON deila, “to deal, divide”).104 Hugir can be

understood as discrete “thoughts” portrayed as IDEAS AS PHYSICAL OBJECTS, such that they can be

manipulated physically, be capable of division, prone to sorting and sometimes in need of

101 Consider the renderings “glad of heart, an upright person, a swift mind, a faithful person.” 102 OED, “thought, n.” I.1.c. 103 SRDB, N B380: Heil(l) sé þú ok í hugum góðum. Þórr þik þiggi, Óðinn þik eigi. 104 The notion of “turning” finds some clarity in Sigurðarkviða hin skamma 38, 40, in which the hugr of Brynhildr is first hvǫrfun, “wavering,” but is then not: bjóat um hverfan hug men-Skögul, or “I did not dwell around a shifty hugr.” Cf. Hávamál 161.

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stabilization, but there is no reason to suspect hugir as extrasomatic; the body of the agent, ek,

“I,” is encompassing this occurrence, consistent with the view of MIND AS PHYSICAL SPACE.

Another slightly variant usage of the verb deila (C-V: metaphorically, “to distinguish, to discern”)

in Helgi Hjǫrvarðssonar 40 suggests congruity with this same metaphorical view. Helgi intimates

the feelings of Sváva on the news that he will soon die: heil verðu, Sváva! Hug skaltu deila […], or

“Greetings, Sváva! Hugr shall you discern […]”.105 The idea seems to be that Sváva will, in effect,

be “splintered” by the news, such that she must sort her feelings and “get herself together,”

which Guðrúnarkviða II 6 instead indicated as potentially a substantial process of decision-making.

Sigurðarkviða hin skamma 13 presents what is perhaps the starkest example of hugr as MIND AS

PHYSICAL SPACE configured into an emotional sense of BODY IS A CONTAINER FOR THE MIND.

Gunnar is deciding whether to kill Sigurðr and vividly portrays a space for hugr encompassed by

Gunnar’s body: reiðr varð Gunnarr ok hnipnaði, sveip sínum hug, or “wrathful became Gunnar and

he became downcast, wrapped to his hugr” (ON sveipa, “to wrap, to swaddle”). Inversely, and

uniquely in terms of the eddic corpus, in Atlamál 89 cognizance past comes into the hugr, as if

remembering: kómu í hug henni Hǫgna viðfarar, or “came into her hugr of dealings with Hǫgni”.106

Among these examples, which represent all of the applicable usages of hugr in the eddic corpus,

there is no convincing evidence to suggest hugr portrayed in the view of IDEAS AS EXTERNAL

ENTITIES; instead there is unanimous consistency in hugr being treated as MIND AS PHYSICAL

SPACE, even if the “mind” is fragmented or physically divisible and relevant to the semantic field

of insular “thoughts.” However, to reiterate once more, there is an inherent shared quality

between both metaphorical views such that even MIND AS PHYSICAL SPACE must extend

extrasomatically into the external spaces in which objects of cognizing acts are located, despite

any reluctance that might be indicated by Hávamál. Antonina Harbus has also treated this

105 “The Poem of Helgi Hiorvardsson,” trans. Larrington: “Greetings, Svava! You must steady your feelings […].” Zoëga: “Thou shalt control thy mind (feelings).” 106 Viðfǫr is a compound substantive of við, “with, by,” and fǫr, “journey.” Atlamál 89 finds a memory-related hugr

corollary in the runic inscription N 171 (Section V). ODS preserves related notions like holde I hu or kalde I hu.

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incongruity extensively, stating that the mind as both a storage place and something that wanders

is paradoxical, but that “these apparently incongruous figurate schemas underpin the

conceptualization of mental life in a wide range of Old English poetry”.107

This external space would seem to be pointedly addressed by the adjectives hugsi and

huglauss, literally “hugr-loose” or “unencumbered of hugr,” as well as the cognate verb hugsa. C-

V glosses hugsi as “thoughtful, meditative” as well as “vacant, wandering, absent-minded,” hugsa

as “to think, to think out,” Zoëga adding “to think upon,” and huglauss is instead “heartless,

faint-hearted”.108 In Kormákr’s Lv 54, Þorvaldr chooses to seek help from his wife in a duel

against Kormákr, and gets insulted as huglauss.109 If we compare to the understanding of hugr as

in the view of MIND AS PHYSICAL SPACE, in which this space exists at least partially somatically

over the breast and body, potential meanings could be that either this space is empty, the

opposite of a “whole,” or “full” hugr, or that hugr is somewhere else than this space (being “out

of mind”). It is appropriate to conjecture that the meaning may be both: hugr must “go”

somewhere, so if it leaves its internal confines leaving a void, it is imagined as having gone

somewhere else. The notion of MIND AS PHYSICAL SPACE being empty could be a more extreme

version of the idea of the “soft” or “malleable” hugr in similar insults in Hárbarðsljóð 26 and 49.

Hugsi would seem to represent the contradiction present in being “absent-minded” or being

“present,” in which the former hardly guarantees the meaning of stupidity, instead potentially

inferring excessive thoughtfulness, and the latter hardly guarantees the meaning of intelligence,

instead potentially inferring a lack of incoming cognizance. On U 729, a runestone in Pr3 style

and thus given a tentative date of 1045-1075, Víðhugsi appears as a personal name, compounding

hugsi with víða (“widely, far and wide”), giving either “widely thoughtful” or “widely absent-

107 Harbus, “Maritime,” 21. 108 C-V gives few examples of hugsa. ONP has only eleven entries; hugr has nearly seven hundred. The reflexive of hugsa means, “a thing occurs to one’s mind.” Cf. Norwegian Bokmål/Nynorsk huske, “to remember, to swing.” 109 ON huglauss survives in ODS. Cf. Section V on Kormákr: “he received, huglauss dugga that he is, rather heavy blows as a keepsake.” ON dugga refers to a lazy or useless person; Trans. McTurk: “wretch.”

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minded”.110 Perhaps a century prior, hugsi occurs in Kormákr’s Lv 41, given the meaning

“thinking of little” by McTurk, covered in more detail in Section V.111 Strömbäck writes that

hugsa in ON is “to think, observe,” but in more contemporary Norwegian dialects it means “to

watch, observe, wish, desire for,” such that in dialects in Dalarna, Sweden specifically it means

“by strong thoughts to cause somebody to feel ill”.112 Heide adds that the meaning “to think

about” derives from “to send one’s mind or thoughts to the object one is thinking of,” while

Alver adds the meaning “to take notice of,” tied to hugsing, the “invisible/unconscious hug,” as

related to the verb at hugse, which involves unconscious desire.113 The lone appearance of hugsa

in the early skaldic corpus occurs in verse 32 of Einarr skálaglamm Helgason’s Vellekla with a

similar meaning: herr skyli of hugsa þat, or “[the] army should ‘think upon’ that.” While the verb

hugsa may indicate a sense of movement of hugr from MIND AS PHYSICAL SPACE and its place in

BODY AS A CONTAINER FOR THE MIND into IDEAS AS EXTERNAL ENTITIES (“to think at”), the

adjective hugsi may entail a subject conspicuously cognizing to a degree that results in a lack of

hugr presence in their own body, such that hugr is conceived as external to the body of the agent

and surrounded by objects of the performance of cognizing, like “thoughts, ideas.”

To this end, the story of Þjalfi and Útgarðr-Loki in Gylfaginning 46 may be interpreted as a

literal narrative of cognizing performance by hugr in which hugr is “personified” as an animate

person (IDEAS AS PERSONS, a special case of IDEAS AS PHYSICAL OBJECTS), such that ideas or

thoughts can not only be interacted with physically, but can move and act like a person, linking

cognizing attributes in a metaphysical mind-space to behavior in an embodied physical space.114

110 SRDB, U 729. Gräslund, “Dating,” 126. The stone is located in Uppland and thus more reliably dated. 111 “Kormák’s Saga,” trans. McTurk, 49. 112 Strömbäck, “Concept,” 4. Hugr can “exercise an influence” and “think in a certain direction.” 113 Heide, “Spirits,” 353. Alver, “Concepts,” 112. ODS preserves a meaning connected to calling something forward in one’s consciousness (kalde I hu), and hue/huge, a verb, means to nurture a certain feeling towards something, to keep in mind, or to really like something (someone), but also to remember. 114 Þjalfi runs against Hugi, over a “good course” with a “level plain,” and Þjalfi is readily defeated three times over.

ON hugi is a masculine substantive with the same meaning as hugr. ATT-Meta PD: “Ideas as Persons or other Animate Beings.” Cf. George Lakoff and Mark Turner, More than Cool Reason: A Field Guide to Poetic Metaphor (Chicago and

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In Gylfaginning 47 we find out that Þjalfi was not in fact physically “running” against someone,

but Hugi was in fact the hugr of Útgarðr-Loki, “and it was not to be expected of Þjalfi that he

should match ‘swiftness’ (skjótfæri) with it”.115 The narrative portrays this swiftness of hugr as an

ideal akin to Hallfreðr’s Erfidrápa 13, the later appearing ON term hugskot, “shooting of hugr,”

and Danish hugskud/huskud, amounting to the notion of a “quick mind” which is reiterated on

Sö 136, a Viking Age runestone in Pr1 style, on which a hersi (“chief”) is hugsnjallan, or “hugr-

swift”.116 Hugi is both controlled and extrasomatic to that jǫtunn agent to which it belongs; an

outlying definitive glimpse of hugr in the view of IDEAS AS EXTERNAL ENTITIES.

IV. Introduction to vindr trǫllkvenna and Huginn

The “Wind of [the] Troll Women” kenning, in respect to its referent, hugr, was first literally

recognized by Snorri in Skáldskaparmál 70. While Snorri formulates the type as vindr trǫll-kona,

note that the examples in this paper use or reference jǫtunn. Snorri states:117

Hugr heitir sefi ok sjafni, ást, elskugi, vili, munr. Huginn skal svá kenna at kalla vind trǫllkvinna ok rétt at nefna til hverja er vill ok svá at nefna jǫtnana eða kenna þá til konu eða móður eða dóttur þess […] hugr heitir ok geð, þokki, eljun, þrekr, nenning, minni, vit, skap, lund, trygð. Heitir ok hugr reiði, fjándskapr, fár, grimð, bǫl, harmr, tregi, óskap, grellskap, lausung, ótrygð, geðleysi, þunngeði, gessni, hraðgeði, óþveri.

“Hugr is called mind and tenderness, love, affection, desire, pleasure. The hugr shall be referred to by calling it [the] wind of troll-wives (women), and it is normal for this purpose to use the name of whichever one you like, and also to use the names of giants (jǫtunn), and then refer to it in terms of his wife or mother or daughter […] hugr is also called disposition, attitude, energy, fortitude, liking, memory, wit, temper, character, troth. Hugr can also be called anger, enmity, hostility, ferocity, evil, grief, sorrow, bad temper, wrath, duplicity, insincerity, inconstancy, frivolity, brashness, impulsiveness, impetuousness.”

We can generalize Snorri’s understanding that there is a broad semantic field of hugr connected

to a cluster of “love” heiti, a cluster of cognitive-related words concerning “character” or “state,”

and lastly a cluster related to emotion. Both Frank and Quinn perceive a possible contradiction in

London: University of Chicago Press, 1989), 72-80: personification maximizes that knowledge with which we know best: ourselves. Cf. Jaynes, Consciousness, 55. 115 En er Þjálfi þreytti rásina við þann er Hugi hét, þat var hugr minn, ok var Þjálfa eigi vænt at þreyta skjótfœri hans. 116 SRDB, Sö 136. Gräslund, “Dating,” 126: Pr1 stylistically dates to 1010 to 1040, but the Södermanland origination is a limitation on this method. Hugskot is attested in later prose sources (and linked to the Christian period) such as Konungs Skuggsja. ODS hugskud/huskud: hugr-shot, -recess, -shooting/running, relating to thoughts that suddenly appear, impulses, or whims. 117 Edda: Skáldskaparmál, ed. Faulkes. Snorri Sturluson’s Prose Edda, “Skáldskaparmál,” trans. Faulkes.

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that the syntax of the allocation of “vind trǫllkvinna” seems to associate hugr foremost to the

cluster of “love” heiti but that the contextually understood referents extend well beyond

interpersonal relations.118 As demonstrated in Section III, hugr in the view of MIND AS PHYSICAL

SPACE is located within the breast, as configured into BODY AS A CONTAINER FOR THE MIND, well-

represented by the montage of cognitive and emotional terminology given by Snorri.

Margaret Clunies Ross states that in the construction of kenningar, the role of the

determinant, in this case <trǫllkvenna> “[of] troll women,” is to construct a category in which the

base-word <vindr>, “wind, air” and the referent [HUGR] are members of a set that are “normal”

through metaphorical analogy.119 Andreas Heusler puts this in a slightly different way, by stating

that the referent [HUGR] cannot mean the same as the base-word <vindr>, but it has qualities

that are shared with <vindr> with regard to the determinant <trǫllkvenna>; the notion to be

expressed represents <vindr> with respect to <trǫllkvenna>.120 Kathryn Ania Haley-Halinski

writes that the base-word <vindr> often has a metaphorical relationship with the referent

[HUGR], and the determinant <trǫllkvenna> instead often has a metonymic relationship with the

referent [HUGR].121

The present study proposes that the metaphorical relationship between ON vindr, “air, wind,”

and the referent [HUGR] concerns an interest in the representation of hugr as in the view of

IDEAS AS EXTERNAL ENTITIES and the inevitable ontological phenomenon of hugr extending into

118 Frank, “Unbearable,” 504. Quinn, “Wind,” 230. While Quinn, in agreement with Frank, would interpret Snorri’s description of hugr as more associated with the leading “love” heiti, it may be that this is not at all Snorri’s intent, or that Snorri, as Frank points out, may be misinterpreting the kenning type. 119 Margaret Clunies Ross, "The Cognitive Approach to Scaldic Poetics: From Snorri to Vigfússon and Beyond," in Úr Dǫlum til Dala: Guðbrandur Vigfússon Centenary Essays, ed. Rory McTurk et. al. (Leeds: Leeds Texts and Monographs, 1989), 278. C-V: ON vindr “wind, air,” can be considered alongside ON lopt/loft, “air, atmosphere, sky,” and himinn, “(non-Christian) heaven.” The former may be “air” but in the sense of it being “up,” or “aloft” with which it is cognate, and the latter evidentially functions more as a spatial container for both lopt/loft and vindr. 120 Andreas Heusler, "Review of Rudolf Meissner, Die Kenningar der Skalden: Ein Beitrag zur skaldischen Poetik,” in Anzeiger für deutsches Altertum und deutsche Literatur 41 (1922). Trans. and paraphrase in SkP I, lxx-lxxvi. 121 Haley-Halinski, “Kennings,” 11, builds on Lakoff and Turner, More, 104-106, in which kennings are reviewed as composites of part for whole metonymies and image-metaphors.

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extrasomatic space. Although from a vastly different, Christian milieu, this is precisely what

Alcuin expresses in his eighth-century De Animae Ratione:122

“Nor furthermore can one sufficiently admire the fact that this living and divine faculty which is called mens or animus is of such nobility that it does not become inactive even when it is asleep, of such speed that at one moment of time it surveys the sky and, if it wishes, flies across seas, traverses lands and cities; in short, by thinking, it, of itself, sets before its view all things it chooses, however far and wide they may be removed … Which flies across sea, lands, and lofty sky, although it is shut in the prison of its body.”

In this passage the act of cognizing is conceptually addressed as both “seeing” and “flying,” yet is

explicitly confined to BODY AS A CONTAINER FOR THE MIND.123 For Alcuin the mind may be

capable of ranging beyond the bodily confines, “conjure up images of things both known and

unknown,” both remember and imagine people and places, and move instantaneously one’s

mental presence both spatially and temporally, but the mind is ultimately shut there; the ability to

range beyond stems from the metaphysical power of the God-given Christian soul mimicking the

divinity and God’s work as a creator rather than any physical power innate to the body.124

The ability for the mind “to see” can be understood by the essential conceptual metaphor

COGNIZING AS SEEING, or the so-called “mind’s eye” metaphor. Researcher of psychology and

mnemonics Francis Bellezza writes that “seeing” ideas is a metaphor for understanding, and thus

for ideas to be understood they must be “seen” in the mind, to which Barnden adds that in the

human visual apparatus, we “see” (and thus “understand”) straight ahead, parallel to our

122 Text and trans. from Peter Clemoes, "Mens absentia cogitans in The Seafarer and The Wanderer," in Medieval Literature and Civilization: Studies in Memory of G. N. Garmonsway, ed. D. A. Pearsall et. al. (London: Athlone Press, 1969), 63-64. Nec etiam aliquis potest satis admirari, quod sensus ille vivus atque cœlestis, qui mens vel animus nuncupatur, tantæ mobilitatis est, ut ne tum quidem, cum sopitus est, conquiescat: tantæ celeritatis, ut uno temporis puncto cœlum collustret, et si velit, maria pervolet, terras et urbes peragret: omnia denique, quæ libuerit, quamvis longe lateque submota sint, in conspectus sibi ipse cogitando constituat … quæ mare, quæ terras, coelum quæ pervolat altum, Quamvis sit carnis carcere clausa suæ. 123 Malcolm R. Godden, "Anglo-Saxons on the Mind,” in Learning and Literature in Anglo-Saxon England: Studies Presented to Peter Clemoes on the Occasion of His Sixty-Fifth Birthday, ed. Michael Lapidge et. al. (Cambridge and New York: Cambridge University Press, 1985), 273, writes “for Alcuin it is the mind’s power to remember or imagine people and places that shows its God-like quality.” 124 Godden, “Anglo-Saxons,” 272-273, adds that dreaming, too, is for Alcuin “a reflection of the soul’s high powers,” which is also represented in Augustine, The City of God, XVIII. Clemoes, “Mens,” 63-64, 67, adds that “man’s likeness to God lies in his soul, and not in his body, because of the soul’s power to range throughout the world in thought … [which] is so wonderful that it is no marvel that God has the power to know everything all the time.” Thus, the mens/animus is the intellectual faculty of the soul, and the soul itself is what must travel.

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embodiment.125 This has direct implications, for example, on MIND AS PHYSICAL SPACE, because

“thoughts” can be in the “front” of the mind, or the “back” of the mind, relatively distal from the

visual apparatus. The metaphor COGNIZING AS SEEING is how a visually-oriented person

understands cognizing acts, but it is accompanied by the sensation or phenomenon of “being”

and existing disparate from the body, which Alcuin expresses through the conception of flight.

Peter Clemoes would see Alcuin’s passage related to the same heritage of transmission as lines

58-63 of the Old English poem The Seafarer, a passage that Vivian Salmon and Roberta Frank

have seen as relating the OE hyge leaving the body in flight as a bird, transgressing the bounds of

the body, and subsequently returning.126 Of centrality to Clemoes’ suggestion is that both

Alcuin’s passage and The Seafarer would seem to portray, and thus envision, the performance of

cognizing as a different cognitive metaphor, one which may be paralleled in the conceptual

underpinnings of Huginn.

The raven-form hugr, or Huginn, is first attested as heiti for the raven in Tindr Hallkelsson’s

Hákonardrápa 4, dated to 974 – 995.127 Several other extant usages trail this one, all of which

postdate the year 1000, as does the first likely appearance of the related raven-heiti Muninn. 128

125 Bellezza, "Mind's Eye.” Cf. Barnden, “Consciousness,” 319-320: COGNIZING AS SEEING relates to both IDEAS AS

EXTERNAL ENTITIES and MIND AS PHYSICAL SPACE. 126 Vivian Salmon, "‘The Wanderer’ and ‘The Seafarer’, and the Old English Conception of the Soul,” The Modern

Language Review 55:1 (1960), 1-2, writes that a literal reading entails the hyge as crossing the boundary of the breast, travelling the corners of the earth, screaming like a bird as it flies alone, and returning unsatisfied. Frank, “Unbearable,” 501, concurs that the speaker likens their hyge to a “’lone-flier,’” which leaves from the breast, flies widely over land and water, and returns, urging the heart. Clemoes, “Mens,” connects the passage to “the mind thinking intensely of distant things,” ranging widely beyond the confines of the body in which it is shut up, and “distance is conceived of spatially, not temporally.” Godden, “Anglo-Saxons,” 294, instead states that this is “an image of volition rather than imagination, calling the speaker to a journey.” 127 Poole, SkP I, 345, 336-337: ferðar Hugins verð bjóðr, “meal-offerer of the flock of Huginn,” [RAVENS > CORPSES > Hákon]. The poem is preserved in konungasögur manuscripts and an accepted date is between 974 to 995. The verse is directed towards the familiar Jarl Hákon. 128 Huginn appears in precisely the same way in verse 2 of an eleventh-century poem (“Poem about Haraldr harðráði”)

by Grani skáld, in some readings of verse 14 of Víkingarvísur by Sigvatr Þórðarson, likely dating to between 1015-1030, in verse 4 of the likely early eleventh-century Þórálfs drápa Skólmssonar by Þórðr Særeksson, from which verse 3 preserves the probable first appearance of the raven heiti Muninn, and in the mid-eleventh century Þorfinnsdrápa by Arnórr jarlaskáld Þórðarson. Concerning Muninn, information around Þórðr Særeksson is sparse, and the extant helmingar survive in konungasögur manuscripts. Gade, SkP I, 236, states “the present drápa may have been composed well after [961], whether by Þórðr or another poet,” yet likely to date to before the death of Óláfr Haraldsson in 1026.

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Studies of Huginn both in recent times by Stephen Mitchell and Marijane Osborn or in the more

paradigmatic work of Gabriel Turville-Petre have left untouched any cognitive methods or

conceptual approaches relative to an embodied cognition.129 The dominant linguistic

understanding of Huginn and Muninn is that put forth by Albert Morey Sturtevant in 1954, in

which Huginn is a product of the substantive hugr with the addition of the adjectival suffix *-en,

“denoting the sense of ‘provided with a certain quality,’” or “endowed”.130 Huginn is thus not

derived from the verb hyggja, nor Muninn from the verb muna; rather, both carry the exact

meaning as expressed in their respective substantives, hugr and munr (C-V: “the moment, turn of

the balance, the difference”). Huginn the raven is thus best seen as “the raven provided with

hugr,” and appears not strictly as a human personification of hugr in the view of IDEAS AS

PERSONS akin to Útgarðr-Loki’s swiftly “running” personification Hugi, but rather as a “flying”

case of MIND AS ANIMATE BEING. This understanding suggests that, like Hugi, Huginn must

operate in respect to, or belong to, someone or something, which is unanimously stated in the

sources to be Óðinn.131

There are some four accounts which attribute Huginn to Óðinn: one eddic verse in

Grímnismál, two prose accounts by Snorri in Gylfaginning and Ynglingasaga, respectively, and one

helmingr attributed in SkP to Óláfr hvítaskáld Þórðarson, nephew to Snorri, extant in the Third

129 Stephen A Mitchell, "II: 10 Óðinn’s Ravens," in Handbook of Pre-Modern Nordic Memory Studies: Interdisciplinary

Approaches, ed. Jürg Glauser et. al. (Berlin and Boston: Walter de Gruyter, 2018). Marijane Osborn, “The Ravens on the Lejre Throne: Avian Identifiers, Odin at Home, Farm Ravens,” in Representing Beasts in Early Medieval England and Scandinavia, ed. Michael D. J. Bintley et. al. (Woodbridge: The Boydell Press, 2015). Gabriel E. O. Turville-Petre, Myth and Religion of the North: The Religion of Ancient Scandinavia (New York: Holt, Rinehart and Winston, 1964), 141-143. Cf. Rudolf Simek, Dictionary of Northern Mythology, trans. Angela Hall (Cambridge: D.S. Brewer, 1996), 164. Quinn, “Wind,” 254, connects Huginn to Útgarðr-Loki’s Hugi: “Huginn the raven is a projection of Óðinn’s thought and Hugi, the giant’s.” 130 Albert Morey Sturtevant, “Comments on Mythical Name-giving in Old Norse,” The Germanic Review 29 (1954), 68. Richard North, Pagan Words and Christian Meanings (Amsterdam: Rodopi, 1991), 105-106. Sturtevant’s conclusion is cited in John Lindow, Norse Mythology: A Guide to the Gods, Heroes, Rituals, and Beliefs (Oxford: Oxford University Press, 2001), 186-188., Simek, Dictionary, 164., and Mitchell, “Óðinn’s Ravens,” 460. 131 Among the poetic circumlocutions and heiti for “raven” which precede the first extant usage of Huginn, almost none link the raven (or any other bird) directly to Óðinn.

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Grammatical Treatise and likely post-dating 1242.132 Grímnismál 20 relates that Óðinn “dreads,

fears” (ON óask; óa, “to shock”) that Huginn will not return, but “fears more” (ON sjásk, “to

fear”) about Muninn, and that they fljúga … jǫrmungrund yfir, or “fly … over/above far-reaching

ground”.133 Snorri, responsible for both Gylfaginning 38 and Ynglingasaga 7, gives a rather

straightforward and unified account, and subsequently cites in Gylfaginning what seems safe to

presume to be his main source, Grímnismál 20: two ravens, Huginn and Muninn, fly far and wide

all over the world and “report” (ON segja) to Óðinn that which they see or hear, because Óðinn

“tamed, trained,” them to speak (ON temja), to the end effect that Óðinn becomes aware of many

“tidings” (ON tíðindi), such that Óðinn became greatly learned.134 Óláfr hvítaskáld Þórðarson’s

132 SkP III, cxviii: The Third Grammatical Treatise is preserved in Codex Wormianus. 133 Grímnismál 20: Huginn ok muninn fljúga hverjan dag jǫrmungrund yfir; óumk ek of hugin at hann aptr né komit, þó sjámk meirr um munin. “Huginn and Muninn fly each and every day over and above far-reaching ground; I dread of Huginn that he not cometh back, although I fear more about Muninn.” The context of the verse is a didactic bestowal from Óðinn to Agnarr; no more context is given. C-V: ON óa is a contracted form of ógn, “dread, terror,” which appears with hugr in both Helgakviða Hjǫrvarðssonar 9 and Þórsdrápa 11; see Section VI. The reflexive of sjá, “to see,” meaning “fear,” would be an apt way to conceptualize one’s munr if the meaning of ON munr derives from, as Sturtevant, “Comments,” 68, writes, “the conception that a ‘difference’ between things is something perceived,” which can be understood in light of the metaphor COGNIZING AS SEEING, such that one visually “sees” the object of cognizance; the occurrence of munr (cf. ON bragð, “a moment, quick movement,” evidenced evocatively on runic inscription N 171; below). Sjá in the present subjunctive middle voice indicates a reflexive hypothetical or possibility, and um means “around, all over,” such that one can tangentially render: “although I am maybe seeing myself more all over munr (the moment of visual cognizance).” The reflexive sjásk also appears in Hákonarmál 15: séumk vér hans of hugi, “we fear of hugi [of Óðinn].” Both cases suggest this fear as possibly grounded in the visual sense; sjásk in Grímnismál 20 could be interpreted as a bodily and emotional pun on COGNIZING AS SEEING, such that “seeing” as “understanding” leads to “fear.” This “understanding” could be somatic: cf. Bellezza, “Mind’s Eye,” 120. COGNIZING AS SEEING can target the external space of the view of IDEAS AS EXTERNAL ENTITIES, but also MIND AS PHYSICAL SPACE, such that “remembering is searching for and finding objects in this space,” as in Atlamál 89. ODS preserves holde i hu “to keep in mind/memory,” kalde i hu, “to call to mind,” and komme i hu, “to come into one’s thoughts.” 134 Gylfaginning 38: Hrafnar tveir sitja á ǫxlum honum ok segja í eyru honum ǫll tíðindi þau er þeir sjá eða heyra. Þeir heita

svá: Huginn ok Muninn. Þá sendir hann í dagan at fljúgja um allan heim ok koma þeir aptr at dǫgurðarmáli. Þar af verðr hann margra tíðinda víss. “Two ravens sit on his shoulders and report in his ears all tidings, that which they see or hear. They are named so: Huginn and Muninn. He sends them at daybreak to fly all over this world and they come back at day-meal time. Thence by these means becomes he aware of many tidings.” Ynglingasaga 7: Hann átti hrafna tvá, er hann hafði tamit við mál; flugu þeir víða um lǫnd ok sǫgðu honum mǫrg tíðendi. Af þessum hlutum varð hann stórliga fróðr. “He had two ravens, which he had trained with speaking (ON temja); they flew far and wide all over land and reported to him many tidings. From these parts (by these means?) became he greatly learned.” Consider the trans. by Hollander: “He had two ravens on whom he had bestowed the gift of speech; they flew far and wide over the lands and told him many tidings. By these means he became very wise in his lore.” C-V: ON hlutr, “lot, share, allotment, portion, part,” may make more sense in this passage if we know their names, such that hugr and munr are parts of a cognitive whole.

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helmingr reads: “Two ravens flew from shoulders of Hnikarr <= Óðinn>; Huginn to the hanged

body (ON hangi), but Muninn to the dead body (ON hræ, “dead body, carrion, scraps”).135

We can seek to understand the flying hugr of Óðinn by revealing it as a conceptual metaphor

of mind in its own right: HUGR IS A FLYING BIRD. The primary correlations between the target

domain and source domain are given below:136

These primary matchings offer one operative framework upon which to approach a cognitive

schematic of the kenning vindr trǫllkvenna, such that these correlations can be used to map the

metaphorical relationship between the base-word <vindr> and the referent [HUGR] as well as the

metonymic relationship of the determinant <trǫllkvenna> and the referent [HUGR].

The critical matchings are twofold: first, the way in which the base-word <vindr> and the

referent [HUGR] are “normal” through metaphorical analogy may be understood as hinging on

the notion that birds fly by mediating the wind, navigating their bodies in the wind, soaring in

the wind, and flapping their wings in the wind, just as hugr “flies” by hyggjandi, “thinking,” and

the performance of cognizing. This inherently bears an “image metaphor” as discussed by Lakoff

and Turner, particularly evocative of “attribute structure,” in that in focus is the naturalistic fact

that “birds move by flight and by mediating the wind,” such that structural aspects of known

135 Tveir hrafnar flugu af ǫxlum Hnikars; Huginn til hanga, en Muninn á hræ. The meter is fornyrðislag; Hnikarr as Óðinn heiti is also found in Grímnismál 47. 136 For an exemplar of this methodology in ON studies see Peter Orton, "Spouting Poetry: Cognitive Metaphor and Conceptual Blending in the Old Norse Myth of the Poetic Mead,” in Constructing Nations, Reconstructing Myth: Essays in Honour of T. A. Shippey, ed. Andrew Wawn et. al. (Turnhout: Brepols, 2007), 294. Another way of looking at these relationships is through the proportional metaphor hyggjandi “thinking” (cf. cognizing) is to the hugr, what wind is to the bird, and one may then speak of the wind as the hyggjandi “thinking” of the bird (cf. Huginn), and hyggjandi “thinking” as the wind of the hugr. Cf. Margaret Clunies Ross, “Cognitive,” 275-278.

target domain source domain hugr cognizes in extrasomatic space birds are external to the body of the human agent hugr “flies” by hyggjandi, “thinking” birds move by flight and by mediating the wind hugr is frequently either resting or “thinking” birds frequently land and take flight hugr is typically portrayed as somatically contained birds utilize the tree for landing and nesting hugr “sees” anything through COGNIZING AS SEEING hugr can be “high” through MIND AS PHYSICAL SPACE hugr can be “swift” through MIND AS ANIMATE BEING hugr can imaginatively “be” anywhere

birds can fly anywhere and see anything with their eyes birds can move the highest of all biological creatures birds have the capability to fly swiftly birds can fly anywhere limitlessly

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<vindr> may be mapped onto the structure of less familiar hugr through the mental image of

bird-flight.137 Danica Škara writes that “because of its abstract meaning [the] human mind is

presented as if it had its own ‘frame’ (cf. ‘frame of mind’),” which is often associated with wind

(cf. “to blow someone’s mind, breadth of mind”) and “ideas” or “thoughts” with fluids (cf. “deep

thoughts, stream of consciousness”).138 It is to this end we might direct comments by Frank, who

writes that wind itself resembles their proposed referents of thought and passion, because wind is

swift, invisible, and constantly in motion just like the mind, and by Quinn, who notes wind’s

“palpable physical force,” which can be linked to the bodily impact of a cardiocentric hugr.139

Second, the way in which the

determinant <trǫllkvenna> and the

referent [HUGR] are metonymic can be

likened to the fact that birds are external

to the body of the human agent, just as

the human embodied hugr must cognize

within and through extrasomatic space, common to the views of both MIND AS PHYSICAL SPACE

and IDEAS AS EXTERNAL ENTITIES. If we consider that the determinant <trǫllkvenna> might

construct a cognitively spatial category which targets a delineation between hugr in the view of

MIND AS PHYSICAL SPACE and hugr in the view of IDEAS AS EXTERNAL ENTITIES, a delineation

which is then “normalized” into a set in regard to the referent [HUGR], then it becomes plain

that <trǫllkvenna> may create a synecdoche (part-for-whole metonymy) in which the referent

[HUGR] is only the external, wandering hugr occupying the space of IDEAS AS EXTERNAL

ENTITIES rather than hugr in the view of MIND AS PHYSICAL SPACE as configured into BODY IS A

137 Lakoff and Turner, More, 89-96. The “attribute structures” either directly between <vindr> and hugr or between hugr and “a flying bird” are manifold; all three are also physiologically tangible. 138 Danica Škara, “Body Metaphors – Reading the Body in Contemporary Culture,” Collegium Antropologicum 28:1 (2004), 185-186. 139 Frank, “Unbearable,” 502-503. Quinn, “Wind,” 216.

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CONTAINER FOR THE MIND. This [HUGR] would instead be phenomenally and spatially likened to

the descriptory meaning of the adjective hugsi, the targeted space acted upon by the verb hugsa,

perhaps some conceptual strands underlying the adjective huglauss, Útgarðr-Loki’s Hugi, and

Óðinn’s raven-form hugr, Huginn.

This hypothesized schematic interprets the determinant <trǫllkvenna> “[of] troll-women,” as

extending a mythological parallel to this embodied conceptual dichotomy, in what amounts to a

reflection of a bounded/unbounded, in/out, center/periphery “image schema” as discussed by

Lakoff and Turner, in which a bounded mythologically understood spatial orientation is mapped

onto the more abstract but nonetheless similarly bounded domain of hugr, providing “an internal

logic that permits spatial reasoning”.140 The space of jǫtunn and of the "Other” in mythology is an

external space (cf. Miðgarðr contra Útgarðr) that Loki can reach by flight, that Þórr can wade to,

or that Óðinn can fly to or ride to.141 The boundary is flagrant in passages like Vafþrudnismál 15-

16, in which the river Ífing “divides earth between [the] sons of jǫtunn and [the] gods … she shall

be running open through all time,” or Þórsdrápa 6-10, where such a river is crossed at great

difficulty.142 The ontological boundedness of the space of “us,” as conceptualized through the

Æsir, becomes the “in” space of hugr in the view of MIND AS PHYSICAL SPACE as configured into

BODY AS A CONTAINER FOR THE MIND.143

140 Lakoff and Turner, More, 97-100. “Image schemas” are particularly diagnostic by their prepositional usage, which express “schematic spatial relations.” Cf. Škara, “Body,” 185-186. The spatial logic permits discussion of the boundary between hugr in the view of MIND AS PHYSICAL SPACE contra IDEAS AS EXTERNAL ENTITIES. 141 For a synthesis see Ármann Jakobsson, "Where Do the Giants Live?" Arkiv fǫr nordisk filologi 121 (2006), 104-106. On Loki, see Haustlǫng and Þrymskviða 3, 5, 9, and the discussion by Triin Laidoner, “The Flying Noaidi of the North: Sámi Tradition Reflected in the Figure Loki Laufeyjarson in Old Norse Mythology,” Scripta Islandica 63 (2012). Hugr is not explicitly associated with ON hamr outside of Hávamál 155, and Loki must be “lended” (ON ljá) the fjaðrhamr or be “increased, augmented” (ON auka) by a flight-skin (ON flugbjalfa). In Haustlǫng 12, this “augmentation” of the flight-skin may be relevant to how Loki is able to “trick back” Þjazi and obtain Iðunn. On Þórr, see Haustlǫng 14-15, Þórsdrápa, and Grímnismál 29. Þórsdrapa 14 is the only context in which hugr is directly confronted with jǫtunn. For Óðinn, see, of many, Baldrsdraumr. 142 Vafþrudnismál 15-16: Hvé sú á heitir er deilir með jǫtna sonum grund ok með goðum. Ífing heitir á [...] opin renna hon skal um aldrdaga. For Þórsdrápa 6-10, see SkP III, 87-97. 143 Lakoff and Johnson, Metaphors, 26-27: Ontological metaphors impose artificial boundaries on things that are not clearly discrete; they bound in parallel with the human experience of bodily encapsulation.

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Mythologically scaled container metaphors find expression in skaldic poetry, eddic poetry,

and Snorri’s Edda. In the tradition of Vafþrúðnismál, we see a container metaphor in which the

sky comes from the skull of Ymir, implicating the air of the sky as that within the skull, within

which the wind is that “which blows over the waves, which men never see itself”.144

Subsequently, “[he] is called Hræsvelgr, who sits at the end of heaven, a jǫtunn in the hamr of an

eagle; [they] say vindr comes from his wings, over all men”.145 In the tradition of Grímnismál, the

skull of Ymir is again responsible for the skies, but furthermore, “from his brain were those hard-

moody clouds, all about shaped”.146 Snorri adopts Vafþrúðnismál for Gylfaginning 18, in which the

wind stirs great seas, whips up fire, and is strong but cannot be seen.147 Snorri expands on wind

in Skáldskaparmál 25-29, likening the sky to “bird-world” and “weather-world,” naming wind as

“wolf of tree,” and citing a variant version of Alvíssmál 12 in Skáldskaparmál 58-60.148 Alvíssmál

12 didactically relates sky-names for a typical range of mythological entities, explicitly bounding

the sky domain in a series of container metaphors in a consistent pattern with Vafþrúðnismál and

Grímnismál.149

144 Vafþrúðnismál 21, 36: Ór Ymis holdi var jǫrð um skǫpuð en ór beinum bjǫrg, himinn ór hausi ins hrímkalda jǫtuns en ór sveita sjor [...] hvaðan vindr um kømr, svá at ferr vág yfir; æ menn hann sjálfan um sjá. “From [the] flesh of Ymir was earth all over formed, but rocks from [his] bones, skies from [the] skull of the rime-cold jǫtunn, and from [his] blood (sweat?) [the] sea [...] from wheresoever wind all over comes, thus to pass over [a] wave; which men themselves never see.” 145 C-V: ON hræ, “a dead body, carrion, scraps,” and svelgr is a substantive relating to a whirlpool as well as the verb svelgja, “to swallow.” Vafþrúðnismál 37: Hræsvelgr heitir, er sitr á himins enda, jǫtunn í arnar ham; af hans vængjum kveða vind koma alla menn yfir. The jǫtunn in a hamr, “skin, form,” could be indicative of a conceptual metaphor HUGR AS

EXTERNAL ENTITY AS PERSON, cf. Hugi, Hávamál 155: … ef ek sé túnriður leika lopti á, ek svá vinnk at þeir villir fara sinna heimhama, sinna heimhuga. “… If I see enclosure-riders playing [up] in [the] air, I so make that they will go to their home-hama, their home-hugir.” 146 Grímnismál 40-41. Ór hans heila váru þau in harðmóðgu ský ǫll skǫpuð. 147 Gylfaginning 18: Hvaðan kemr vindr? Hann er sterkr svá at hann hrœrir stór hǫf ok hann œsir eld en svá sterkr sem

hann er þá má eigi sjá hann. Trans. Faulkes: “Where does the wind come from? It is so strong it stirs great seas and whips up fire, but strong as it is, it cannot be seen.” Perhaps seeking physical causation, Snorri adds that “the winds arise from beneath [the] wings [of Hræsvelgr] when he flies,” and explicitly from the north (northerly winds). 148 Skáldskaparmál 25-29, 58-60, trans. Faulkes: “[Wind shall be referred to as] breaker of tree, harmer and slayer or dog or wolf of tree or sail or rigging … the sky is called Ginnungagap and middle-world, bird-world, weather-world. Terms for weather are storm, breeze, gale, tempest, blast, wind.” Snorri’s citation of Alvíssmál: Vindr heitir með mǫnnum, en vǫnsuðr með goðum, kalla gneggjuð ginnregin, œpi kalla jǫtnar en álfar gnýfara; heitir í Helju hlummuðr. Trans. Faulkes: “It is called wind among men, but wanderer among the gods, the great powers call it the neigher, giants call it howler, but elves noisy traveler. In Hel it is called boomer.” 149 Alvíssmál 12: Himinn heitir með mönnum en hlýrnir með goðum, kalla vindófni vanir, uppheim jǫtnar, álfar fagraræfr, dvergar drjúpan sal. Trans. Larrington: “’Sky it’s called among men, planet-home by the gods, wind-weaver the Vanir call it, the giants call it the world above, the elves the lovely roof, the dwarfs the dripping hall.”

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This understanding would suggest that the referent [HUGR] is indeed a subset of the possible

deployments of hugr, but not necessarily in any deliberate or perceivable groupings which may

exist in Skáldskaparmál 70. The semantic breadth of the referent [HUGR] might feasibly be equal

to that of hugr, as the delineation would not be about meaning per se, but rather, to whatever

extent was necessary or to whichever supplied context was relevant, hugr becoming conceived as

extrasomatic and sharing of space with “ideas, thoughts” and other objects or products of the

performance of cognizing; [HUGR] AS EXTERNAL ENTITY. Yet, obviously, the determinant

<trǫllkvenna> is a compound and not wholly consisting of “troll”; ON kvenna, genitive plural of

ON kona, “woman,” suggests that there is more to this kenning than demarcating what might be

generalized as a somatic or extrasomatic conception of hugr.

Quinn suggests that the grammatically feminine <trǫllkvenna> should probably be seen in

the light of “the influence of supernatural females over men’s fates,” to which we may

conceptually associate the nornir, valkyrjur, vǫlur, and dísir.150 This coupling is both well-

represented in the referential meanings of the corpus of vindr trǫllkvenna kennings, as both the

studies of Frank and Quinn demonstrate, and seamlessly pairs with the proposed metaphorical

relationship between the base-word <vindr> and the referent [HUGR]. Yet the proposition may

be refined: the ontological peripheral space is one in which the agent lacks control, composed of

perceived “objects” and agents which are out of the jurisdiction of the cognizer; hence shared

origins with an outlook of predetermination.

The ensuing study of vindr trǫllkvenna will suggest shared conceptual roots with the cognitive

metaphor HUGR IS A FLYING BIRD, utilized as its own poetic metaphor to upon which discuss

“fate” and the ontological realization that extrasomatic space is out of one’s control, by means of

the base-word <vindr> and its metaphorical relationship to the referent [HUGR], such that this

150 Quinn, “Wind,” 209: the kenning “is likely to be the kind of kenning that instantiates a basic tenet of the mythology: the influence of supernatural females over men’s fates.” Frank, “Unbearable,” 512-513, adds that “wind was imagined by Norse mythographers as a giant,” that Earth was an “inescapably” female giantess, and that “the predominance of ‘giantess’ in the kenning may have something to do with the Norse configuration of giant world as female.”

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relationship targets and employs the operative crux of bird flight as matched to the performance

of cognizing. This metaphorical relationship would not directly be “wind is [extrasomatic] hugr,”

but rather, “wind is the essential capability by which hugr can (metaphorically) fly

[extrasomatically].”

V. Three vindr trǫllkvenna kennings

This section tests the hypothesis that the metaphorical relationship between the base-word

<vindr> and the referent [HUGR], as extended through a bodily and spatial synecdoche that

differentiates hugr as external, targets the notion of extrasomatic ontological powerlessness by

inference to the conceptual underpinnings of HUGR IS A FLYING BIRD (manifest in Huginn), such

that any expressed or implicit ability or inability to mediate or navigate the wind (or similarity to

“bird”-ness) becomes accommodating as its own ontological metaphor. If the respective [HUGR]

referents of these three vindr trǫllkvenna kennings can adequately be discerned by the methods

implemented in Section III as indicative of the view of IDEAS AS EXTERNAL ENTITIES, and if

indications of positive or negative wind navigability or mediation on behalf of the agent positively

correlates with the presence or deficiency of ample control over one’s “being” or existing in life

or a good or bad (or void thereof) fate, then the study would provide some evidence, limited by

sample size, that the ontological gap in cognitive experience between the “contained” somatic

hugr (which must nonetheless cognize extrasomatically) and the “wandering” extrasomatic hugr

(which is nonetheless inherently rooted within the agent), is being addressed by reference to the

forces of wind. Whereas “breath” in life is effectually unevidenced in this early period, “wind”

would thus provide a metaphorical backdrop for the functionality of “mind,” to one somewhat

similar effect of the “breath concept” in that hugr would have the potential to be portrayed as

transgressed from within the body into a “breathy” medium.

Before proceeding, a unique runic inscription from Vinje Church, Vestland, Norway may

illuminate some of the nuance of this proposal, despite originating within a disparate extant

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context. N 171, which SRDB dates to around 1200, associates maritime diction and imagery with

human agents which are “holding” onto hugstríð, “hugr-grief” in part due to flagða feiknbrǫgðum,

or the “terrible-schemes of giantesses”:151

Hallvarðr grenski resit (rú)nar þessar: Hallvarðr grenski wrote these runes: Sæll er, sá er sv(íki f)ý(l)a

sorg á reikar torgi Grettis sótt at gæti

geldr eiðar þess aldri.

Sæll er aldri fýla, sá er svíki. Geldr þess eiðar, at Grettis sótt gæti sorg á reikar torgi.

Never happy is that dirty fellow who betrays, [he] repays that oath, that sickness of Grettir [WINTER] guards sorrow in [the] market of the parting of hair [HEAD].

Era fe(ik)nbrǫgðum um flagða fallnir niðr með ǫllu

haukar Baldrs ok halda hugstríði byr[skíða].

Era fallnir niðr með ǫllu haukar byrskíða Baldrs um flagða feiknbrǫgðum ok halda hugstríði.

The hawks (bold men) of Baldr of wind-woods [SHIPS > SEA-WARRIORS] are not entirely fallen down by means of the terrible-schemes of giantesses and are holding fast to hugr-grief.

This inscription would seem to relay agent-caused troubles stemming from betrayal and oath

breaking as well as from forces insinuated as uncontrollable. ON halda has the meanings “to hold,

to withhold, to retain, to keep safe,” and as this verb is taking dative hugstríð as an object (C-V:

ON stríð, “woe, grief, affliction”), itself a compound suggestive of emotional volatility, the

conceptual implication is most consistent with hugr in the view of MIND AS PHYSICAL SPACE, not

IDEAS AS EXTERNAL ENTITIES.

The agents are doubly referenced to wind imagery: first, as haukar, which can mean both

“hawks” and “bold men,” and second in a kenning referencing [SEA-WARRIORS] which

employs byrskíða, “(fair) wind-woods” as its determinant. These two references evince imagery of

these individuals as capable wind mediators, with strikingly similar diction to vindr trǫllkvenna

kennings (as we shall see), which is tempting to interpret metaphorically and as connected as they

are grammatically to the notion that they have managed to be “not entirely fallen down” by these

giantess tricks. While these hugir may be somatic, the allusion of adeptness at seafaring and flight

is thus consistent with a metaphorical linkage to the controllability of outcomes in life (or lack

thereof), nominating the semantic field of ON bragð, “trick, scheme, device,” as one potential

151 Transliteration and prose word-order from SRDB, N 171 and Edith Marold, “Runeninschriften als Quelle zur

Geschichte der Skaldendichtung,” in Runeninschriften als Quellen interdisziplinärer Forschung, ed. Sean Nowak et. al. (Berlin and New York: Walter de Gruyter), 674. Trans. dependent on both; particularly Marold’s German trans.

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descriptor of any extension for the referent [HUGR] by the determinant <trǫllkvenna>.152

Relevant for consideration is Antonina Harbus’ study of maritime metaphor in Old English

poems such as The Wanderer and The Seafarer, which has revealed that metaphors of the mind

present themselves in particular by way of metaphorical nautical activity.153

With this in mind, from Snorri’s thirteenth-century description, vindr trǫllkvenna kennings

were outlined by Meissner in 1921, comprising Category §64, and have been examined most

thoroughly by Judy Quinn and Roberta Frank.154 Meissner lists some fourteen or fifteen examples

of vindr trǫllkvenna, Quinn utilizes sixteen, and Frank makes do with seventeen. Only four of

these seem likely to predate the year 1000, of which all are demonstrably linked to skalds

disparate from Christianity. We will first consider Hallfreðr’s Lv 2 and Kormákr’s Lv 1, both of

which are embedded in the interpersonal scenarios so equivocal to the skáldasögur, not

contextually unlike many appearances of hugr in Hávamál.

Dating Context Author/Title Prose ON Structure Prior to 1014 (965 - 995?)

Sks (Ís.) Hfr. Lv 2 byrr kvánar Surts

[nominative (fair) wind + genitive sing. woman + genitive sing. Surtr] = [HUGR]

prior to 970 Sks (Ís.) Kormákr Lv 1 mínú leiði snótar jǫtuns

my + [dative (fair) wind + genitive sing. woman + genitive sing. jǫtunn] = my [HUGR]

There are no serious problems with Hallfreðr Lv 2 as it survives, such that both Frank and

Quinn order the syntax the same but provide slightly varying understandings. The first helmingr

of the verse relates that many men “are resolved to court” Kolfinna, the sole object of Hallfreðr’s

romantic intrigue, which presents a hazard for Hallfreðr’s interests.155 The second helmingr reads:

“late will ‘fair wind of the woman of Surtr’ [HUGR] await to put me to flight from calm Kolfinna;

152 C-V: ON bragð has primarily a temporal meaning, relating “a while, moment, or a sudden movement,” in addition

to “trick, scheme,” compounding interest in the idea of “holding” hugstriði. 153 Harbus, “Maritime,” 22-24. Relevant passages are The Wanderer 55-57, and The Seafarer 58-64. 154 Quinn, “Wind.,” and Frank, “Unbearable.” Rudolf Meissner, Die Kenningar der Skalden (Bonn and Leipzig: Kurt Schroeder, 1921), 138-139, links both hugr and the kenning type to Latin animus and German sinnen, “to ponder.” Meissner states that Snorri gives little reasoning, relays doubts for the meaning of the kenning, and reveals that it was avoided in later poetry. 155 Frank, “Unbearable,” 505: “Men [heeding-trees of the shield] are resolved to court Ávaldr’s only daughter; to this

skald that spells danger.” Cf. Poole, “Introduction,” 1: Kolfinna means “’coal-black Finna,’ named for her dark complexion and hair.”

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so men say about her”.156 The referent performs the action indicated by a transitive ON renna,

“to make (let) run, to put to flight, to wander, to glide [of a ship],” taking the (dative) object

“me,” and “from calm Kolfinna” is a directional prepositional phrase situating the referent as

spatially external at Kolfinna. Any performance by hugr of actions denotable by the verb renna are

convincingly antithetical to MIND AS PHYSICAL SPACE and BODY IS A CONTAINER FOR THE MIND,

consistent with the straightforwardly represented external placement of the referent [HUGR],

such that [HUGR] is expressed in the view of IDEAS AS EXTERNAL ENTITIES. Not only would the

hugr of Hallfreðr seem to be conceived as extrasomatic and surrounded in space by his “thoughts,

ideas,” or objects of cognizing performance, dominated by the person Kolfinna, a limitation on

Hallfreðr’s agential control is disclosed such that his hugr may bide time until “late,” but

eventually, out of his control, be forced to “run, wander, glide” away.157

Hallfreðr’s Lv 23 also employs hugr, and the first helmingr reads: “then I remind myself what

my hugr has tried towards Kolfinna shall come to pass”.158 Hugr is able to “try, examine, search”

(ON reyna) an object (such as a person) under a pretext of interpersonal relations, an action

which is directed “towards, against” (ON við) the (dative) object Kolfinna, which we may

similarly understand as an extrasomatic hugr in the view of IDEAS AS EXTERNAL ENTITIES.

Nominative hugr would thus be conceptually external to Hallfreðr’s body yet nonetheless

exerting agential action directed at Kolfinna. Concerning the appearance of sannreynir, “true

trier” in a verse attributed to Kormákr, Marold writes that a “trier, examiner” (ON reynir) can be

“someone who knows someone’s mind, hence a friend,” context with which one may approach

156 … Síð mun Surts kvánar byrr of bíða rinna mér af kyrri Kolfinnu; svá geta menn til hennar. Compare Frank, “Unbearable,” 505: “Late [never] shall [my] mind [favourable wind of Surtr’s woman (=giantess)] manage to run from the calm Kolfinna; so men guess about her.” Quinn, “Wind,” 244: “Slowly will the breeze of Surtr’s woman manage to rid me of calm Kolfinna – such do men plan for her.” Poole, “Relation,” 126, cites this verse as verse 3, relating that “Hallfreðr announces his love for Kolfinna and also reckons with the claims of a rival.” 157 Frank, Unbearable, 506, states that there is an inversion of two nautical idioms: bíða byrr, “wait for a favorable wind,” and byrr renn á, “a fair wind begins to blow.” A bird “glides” of the wind like a ship. 158 Skj (AI, 172, BI, 162). Prose order: þá minnumk at minn hugr reyndr við Kolfinnu mun verða.

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Haustlǫng 12, in which Loki is “the hugreynandi (‘hugr-trying’) of Hoenir”.159 Concerning Lv 2,

Quinn remarks that “Hallfreðr’s devotion to Kolfinna is so strong […] even the powerful influence

of giantesses would take aeons to erode his love,” and that “the image is one of having fixed

thoughts blown away”.160 For Frank, Kolfinna is the still center counter to the wild wind,

“around which the skald’s mind revolves”.161

Kormákr’s Lv 1 is both simpler and less straightforward: “Now [a] mighty love happened to

me in my ‘leading wind of the woman of jǫtunn’”.162 ON verða in the middle voice (“to become,

happen, occur”) is the action this “mighty love” performs, spatially within “my (leading)

[HUGR],” such that whether or not the view of IDEAS AS EXTERNAL ENTITIES may be invoked

hinges on one’s interpretation of the base-word <leiði>, a specifically “leading” wind. Leiði is

related to ON leið, “that which leads, a way, a road,” and leiða, “to lead.” While “varðk” belies

little sense of control on Kormákr’s part, such that Kormákr is devoid of any tools with which to

mediate any wind, assignment to the view of IDEAS AS EXTERNAL ENTITIES would conjecturally

depend on an overinterpretation of <leiði>, whereas the directional prepositional phrase could be

congruous with either view. While Quinn sees Kormákr’s thoughts as irresistibly drawn towards

Steingerðr “by an elemental force,” positioning the directional phrase as indicating a “space” or

“mind” within the poet, a cognitive framework may suggest that if the designated “leading” space

is extrasomatic it may suffice as the ontologically external space of cognizing in which

159 Marold, SkP III, 272-276. Haustlǫng 12: Heyrðak svá, þat síðan, sveik apt ása leiku, hugreynandi Hoenis, hauks flugbjalfa aukinn. “I have heard thus, that the hugreynandi (hugr-trying) of Hoenir [LOKI], strengthened with a hawk’s flight-skin, afterwards recovered the playmate of the gods by trickery.” Cf. Þórsdrápa 1: geðreynir Gauts herþrumu, “geð-trier of Óðinn of host-thunder” [LOKI]. Húsdrápa 4, 6: Þórr appears as the reynir “tester” of jǫtunn. 160 Quinn, “Wind,” 245. 161 Frank, “Unbearable,” 506. 162 Nú varðk mér ramma ást í mínu jǫtuns snótar leiði; menreið réttumk risti fyr skǫmmu. This is the only usage of leiði in the kenning corpus; a “leading” wind is evocative of the “forward” directional cognizing of humans relative to our “forward” placed visual apparatus, cf. COGNIZING AS SEEING. Gade, “Dating,” 73: Kormákr’s poetry may be the oldest of the extant skáldasögur, and there is no indication that Kormákr was Christian. Kormákr probably composed first for the Jarl of Hlaðir, Sigurðr jarl Hákonarson, the father of Hákon Jarl Sigurðarsson (killed in 962), who was to be patron to Hallfreðr. He then composed for his successor, Haraldr gráfeldr.

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interpersonal interaction occurs, tied to a cardiocentric placement of emotions pertaining to ást,

“love, affection”.163

There is ample context in which to refine this understanding too: Kormákr employs hugr

some three other times in his verses. In Kormákr’s Lv 8, his particularly intense desire for

Steingerðr is likened to a “strong” hugr (ON sterkr) travelling vast distances “beyond the sea,” an

allusion to maritime imagery.164 In Lv 15, we find a rather straightforward embrace of hugr in the

view of IDEAS AS EXTERNAL ENTITIES: hugr er um á [STEINGERÐR], or “hugr [of Kormákr] is

about (all over) to Steingerðr,” such that Kormákr’s hugr is even encompassing Steingerðr, herself

breezily likened as the “valkyrie of channel-fire”.165 What we might see as a fixation of hugr, or

hinge-like quality of movement around a nodal point operating through the performance of

cognizing, is reiterated in Lv 31 in which Kormákr’s [minn] hugr leikr á henni, or “my hugr moves

to her” (ON leika, “to play, perform, move, swing”).166 If we reapproach the vindr trǫllkvenna

kenning in Kormákr Lv 1 with these examples in tow, particularly Lv 15 and Lv 31 could be

interpreted to emphasize the spatial nature of the base-word <leiði> as extrasomatic and fronting,

such that the kenning builds on these two usages of hugr by adding a metaphorical allusion to

Kormákr’s hapless fixation through the “flight” of hugr in out-of-control “windy” forces.167

163 Frank, “Unbearable,” 505, writes that the diction inverts the idiom leiða ástum, “to love someone.” Quinn, “Wind,” 243-244, adds that there may be the meaning of seductive power imagined as “the updraft of a giantess,” targeting the medium of wind as the point of mergence of the fixating hugr and the out-of-control. 164 Skj (AI, 81-2, BI 71-2): Alls metk auðar þellu Íslands, þás mér grandar, Húnalands ok handan hugstarkr sem

Danmarkar; verð es Engla jarðar Eir háþyrnis geira (sól-Gunni metk svinna sunds) ok Íra grundar. Trans. McTurk: “All told, I price the pine-tree of wealth [WOMAN], who gives me anguish, hugsterkr with Iceland, with Denmark too, and Germany beyond the sea.” Emphasis mine. 165 Skj (AI, 82-3, BI, 73): Braut hvarf ór sal sæta, sunds eum hugr á Gunni (hvat merkir nú) herkis (hǫll) þverligar (alla). Trans. McTurk: “My hugr remains all the more keenly on the valkyrie of channel-fire [WOMAN].” Emphasis mine. 166 Skj (AI, 85, BI, 77): minn leikr hugr á henni. Trans. McTurk: “my hugr is set on her.” Cf. Vǫluspá H, 27: seið hon hvars hon kunni, seið hon hugleikin. “She performs seiðr wheresoever she is familiar, seiðr she hug-played.” 167 Quinn, “Wind,” 243, 252, would see a more apt referent for both Kormákr’s Lv 1 and Hallfreðr’s Lv 2 being “passion” or “turbulent thoughts,” or “ardour in the specific context of erotic attraction.”

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A unique appearance in Kormákr’s Lv 41 of the adjective hugsi further asserts this

understanding, which may bear the meaning of excessive expenditure of hugr in extrasomatic

space at the cost of a bodily cognizant presence:168

Svfum Hnoss í húsi hornþeyjar vit Freyja fjarðar logs en frægja

fimm noetr saman grimmar

Famous goddess of the horn-froth’s fjordland, you and I slept together, hale and hearty, in a house, for five grim nights;

ok hyrketils hverja hrafns ævi Gnóð stafna

lags, á lítt of hugsi, lák andvanr á banda.

and every one of those raven’s lives I lay there, thinking of little, deprived of the locking embrace on the ship of the fire-kettle’s gables.

While Meissner suggested that hyrketils hrafns was probably a kenning for a house, a more

recent translation by McTurk denotes that the kenning ævi hrafns, “life of [a] raven,” references

[NIGHT]. If so, the meaning is such that Kormákr and Steingerðr slept in a room for five days,

each night likened to “the life of a raven,” rife with overflowing sexual desire. Unable to

consummate and in a separate bed from Steingerðr, Kormákr lay there hugsi.169 One

interpretation of the end effect is that of a hybridization of Kormákr’s inability to wrench his hugr

from Steingerðr merged with a concretization of HUGR IS A FLYING BIRD, such that his inability to

mediate the “wind” by which the raven must fly complements his self-description as hugsi to self-

identify as powerless to the whims of fate.170

The last vindr trǫllkvenna kenning considered in this section is Eyvindr’s Lv 11, which, along

with Guþþormr Sindri’s Hákonardrápa 8, reviewed in the next section, survives as praise-poetry

embedded in konungasögur manuscripts, rather than the skáldasögur of the Íslendingasögur.171

168 Skj (AI, 87, BI, 79). Trans. McTurk. 169 Meissner, Kenningar, 431, gives kyrketils (“fire-kettle”) [STOVE], states that hrafn stands in for a horse name, and

proposed a ms. emendation from stafna to svefna. “Kormak’s Saga,” trans. McTurk, 102, reads the syntax in a manner keeping with Kormáks saga, trans. Valdimar Ásmundarson, ed. Sigurður Kristjánsson (Reykjavík, 1893) 48, 93. Cf. Quinn, “Wind,” 252: this “context of erotic attraction,” is made explicit by ON andvanr, “wanting” (C-V). 170 Both Hallfreðr and Kormákr are skalds known for their panegyric first and foremost, such is their inclusion as protagonists in their respective skáldasögur, and it is possible that Kormákr’s Lv 41 specifically deploys the raven-form due to a cross-milieu borrowing from skaldic panegyric and the conceptual foundations of Huginn. 171 These kennings are embedded in developed and meaningful ways in their respective contexts, ie. war-based eulogy or “Viking” contra skald-saga “love” or domesticity. Cf. SkP I, cxcvi, 213-214. Eyvindr Skáldaspillir Finnsson’s lausavísur are connected to the political strife tied to Haraldr gráfeldr and his violent dispatching of Eyvindr’s previous patron, Hákon I inn goði Haraldsson (d. 961). Lv 11 seems to relate to a tenuous relationship between Eyvindr and

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Eyvindr’s Lv 11 is a result of a problematic manuscript context in which the exact diction of the

determinant varies between manuscripts, which is not a serious hinderance:172

Dating Prose ON Structure

961 - 990 góðan byr týs þursa

good + [accusative wind + genitive sing. woman + genitive pl. þurs] = good [HUGR] (of Haraldr Gráfeldr)

As a “loose verse” devoid of the tight narrative structure of the skáldasögur prosimetrum, there is

thus no poetic composition in which the verse can be contextualized. The way in which this

stanza appears in Heimskringla probably depends on oral tradition and in-stanza inferences, and

we may infer that the verse concerns Eyvindr responding to (and praising) Haraldr gráfeldr.173

Haraldr is first complimentarily invoked with maritime-laden diction evocative of the runic

inscription N 171, such that he is “runner of the ski of the land of skerries [SEA > SHIP >

SEAFARER],” which is followed by Eyvindr addressing Haraldr: “I should after this time find

your good ‘wind of the bondwoman of giants’”.174

This invocation satisfies the criteria that Haraldr may be an apt wind mediator or navigator,

such that if the sail is dependent on winds that are out of human control then [HUGR] may

nonetheless navigate it, which is not only reinforced by the qualifying adjective for the kenning

referent góðr, “good,” but also by the determinant týs þursa, “‘bondwoman’ of þurs.” Týs is noted

by Poole to indicate a subjugated (female) individual, which may project a related sense of

subjugation concerning control of ontologically external outcomes inherent to “being” alive and

the notion of fate. ON finna, “to find (out), meet, visit, discover, perceive, feel” evokes a similarly

external semantic field relative to reyna, but Eyvindr is the one “finding” whereas the referent

concerns Haraldr.

this new patron and the “culmination of Eyvindr’s submission [to Haraldr].” Haraldr was raised as a Danish Christian and attempted to impose it around Trøndelag, but Eyvindr’s poetry (cf. Háleygjatal) is overtly non-Christian. Cf. Ström, “Poetry,” 441, 446. Eyvindr may have had deep family roots to Hålogaland and the Hlaðir jarls. 172 Poole, SkP I, 231: “The determinant tys, probably meaning ‘bondwoman’, ‘concubine’, or ‘enslaved sexual partner’,

is obscure and clearly caused confusion in transmission.” Quinn, “Wind,” 238: the readings are týs, tóls, kaus, bæs, and bæn, “from which a reading which provides the necessary feminine quality to the determinant must be chosen if the kenning is to fit the taxonomic pattern.” 173 Poole, SkP I, 213. 174 Skerja folder skíðrennandi, skyldak síðan frá þvísa finna þinn góðan byr týs þursa.

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With just cause we may presume that Eyvindr must encounter the referent [HUGR] in the

physically external space between two agents or the inherent space for interpersonal interaction,

perhaps as in the view of IDEAS AS EXTERNAL ENTITIES, but the lack of any directional phrase

belies diagnostic verification. Eyvindr may just “find” the hugr of Haraldr where hugr typically

exists, as MIND AS PHYSICAL SPACE as configured into BODY IS A CONTAINER FOR THE MIND. Frank

would orient the usage as Eyvindr imploring for favorable intent concerning Haraldr’s future

attitude, such that “to have a ‘good sea-wind’ means to be well favored”.175 These understandings

are hardly mutually exclusive as the same function would be realized by reckoning Eyvindr as

complimenting Haraldr’s fate, such that Eyvindr would in turn be well-favored.

Although of sparse assistance in terms of his Lv 11, Eyvindr employs hugr twice in

Hákonarmál in eschatological pretexts. In the second helmingr of Hákonarmál 9 we find:176

Vasa sá herr í hugum ok átti til Valhallar vega.

That army was not in hugum and had ways toward Valhǫll.

The preceding verses 7-8 are essentially death-imagery, and the first helmingr of verse 9 reads

“then kings were sitting with swords drawn, with hacked shields and pierced mail-shirts”.177

Robert D. Fulk renders sá herr vasa í hugum, “that army was not in good spirits,” which is more

or less in agreement with that given by Erin Michelle Goeres, who relays “that army was not glad

of heart”.178 There is only one similar usage of hugr in the corpus examined in this study, in

Hyndluljóð 2, in a similar context of travel to Valhǫll: “[we] wait for herjafǫðr [Óðinn] ‘sitting’ in

hugir, he pays and gives gold to king’s men”.179 Hákonarmál 9 seemingly portrays persons and

agents as not “within” MIND AS PHYSICAL SPACE as configured into BODY IS A CONTAINER FOR THE

175 Frank, “Unbearable,” 507. Poole, SkP I, 231: “Eyvindr hopes that he will now stand in the king’s good grace.” Cf. Quinn, “Wind,” 239: “the literal meaning of the clause is ‘from now on, king, I ought to find your breeze of the giants’ [something] to be good.” 176 Fulk, SkP I, 171-174: Hákonarmál survives as a continuous whole in Hákonar saga góða, Heimskringla. Trans. mine. 177 Þá stu dǫglingar með sverð of togin, með skarða skjǫldu ok skotnar brynjur. 178 Fulk, SkP I, 183. Erin Michelle Goeres, The Poetics of Commemoration: Skaldic Verse and Social Memory, c. 890-1070 (Oxford: Oxford University Press, 2015), 65. 179 In the preceding verse, the speaker invokes someone to ride to Valhǫll. Biðjum herjafǫðr í hugum sitja, hann geldr ok gefr gull verðungu.

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MIND, dissociating any bodily container from hugr entirely, whereas Hyndluljóð 2 may evoke what

Barnden terms the “self-homunculus,” a cognitive metaphorical view in which there is a person-

like entity “within” hugr as MIND AS PHYSICAL SPACE (cf. MIND PARTS AS PERSONS), or a somatic

and insular IDEAS AS PERSONS or personification akin to the “swift” but external Hugi, which is in

this case “sitting, staying, abiding, submitting” (ON sitja).180

In verse 15, in a dialogic context concerning this (presumed) flight to Valhǫll by those whom

are dead, Hákon and the others now fear the plural hugir of Óðinn:181

The preposition of and the plural hugir suggests a translation not as “mind” but as “thoughts,

ideas” bordering on (evil) intent, evocative of the view of IDEAS AS EXTERNAL ENTITIES such that

these persons are encountering extrasomatic hugir of Óðinn. Perhaps, akin to Eyvindr’s Lv 11,

they too are “finding” the hugr of Óðinn, albeit to an inverse result. The reflexive of the verb sjá,

“to see,” meaning “fear,” appears again in a cognitive context reminiscent of the description of

Huginn and Muninn in Grímnismál 20, of which both usages may be pertinent to the ubiquitous

COGNIZING AS SEEING metaphor.

VI. Huginn and the Wolf: Guþþormr’s Hákonardrápa 8

The following study fully adopts the methods for analyzing vindr trǫllkvenna as executed in

Section V, which amount to an analytical foundation upon which the fact that Huginn is

180 It would be difficult to imagine a more appropriate way to convey death than to inverse entirely the typical body and mind ontology; the “army” may not be “within” MIND AS PHYSICAL SPACE because they are dead, a prerequisite for their possession (ON eiga, “to have, own”) of ways to Valhǫll. Valkyrjur such as Gǫndul (cf. verse 10) appear to humans only after death. Battle is portrayed as veðr Skǫglar (“weather of Skǫgull <valkyrie>”) in verse 8 and Gǫndul appears at the start of verse 10, whose speech Hákon is able to hear, and in verse 12 they are engaging in dialogue. Cf. trans. Richard North et. al., The Longman Anthology of Old English, Old Icelandic and Anglo-Norman Literatures (London and New York: Routledge, 2014), 494: “this was not a living army.” ONP preserves three examples of “vera/verða í hugum,” all of which concern the Christian God. Barnden, “Consciousness,” 327-328: the inner-self can be a homunculus “sitting within the space of the mind, looking frontwards out into the world as well as looking at the contents of the mind,” which can be expressed as MIND PARTS AS PERSONS, for which see ATT-Meta PD, “Mind Parts as Persons or other Animate Beings,” and Barnden, “Metaphor,” 82: a mind can contain “subpeople.” 181 Trans. mine. Conjecturally, hugir would be consistent conceptually with Huginn and Muninn.

Ræsir mælti þat – vas kominn frá rómu, stóð allr drifinn í dreyra –: “Óðinn þykkir oss vesa mjǫk illúðigr; séumk vér of hugi hans.”

The ruler [Hákon] said that – he had come from battle, stood all drenched in blood –: “Óðinn seems to us to be very evil-boding; we fear of (over) hugir of him.”

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presented as specifically the raven may be considered. While discussion of the previous three

vindr trǫllkvenna kennings mapped the conceptual relationships among the base-word,

determinant, and referent via the generated cognitive metaphor HUGR IS A FLYING BIRD, of which

both the ability of a bird to navigate the wind and the locating of birds in the space outside of

one’s body became focal, this section proposes an amendment to this metaphor. The raven has

been posited scientifically to bear an “ancient” social symbiosis with the wolf, a theory which

finds bountiful attestation in the Old Norse corpus, leading to a phenotypically specific

generation of a derivative of HUGR IS A FLYING BIRD, HUGR IS A RAVEN INCITING A WOLF. This

naturalistically attuned variant will be suggested to conceptually underpin the vindr trǫllkvenna

kenning in Guþþormr Sindri’s Hákonardrápa 8, to the primary effect that the referent [HUGR]

may be deliberately qualified with a wolf-like battlefield presence to signal control over the

ontologically “out” space and fate, rather than signaling such control by way of qualifying the

subject in terms of the ability to mediate wind, in a manner peculiar to contexts of battle.

Previous studies and in particular several by Judith Jesch have, primarily due to their manifest

joint interest in fleshly carrion, analyzed the raven alongside the wolf and the eagle within the so-

named “beasts of battle” motif as existent in both Old English and Old Norse poetry.182 Of

foremost significance is that the usage of this convention in Old Norse always signifies the

victors, unlike in Old English.183 However, there is a deep temporal history of stereotyped raven

deployments ranging from Genesis to Beowulf, which revolve around the raven as the preeminent

carrion-bird which is construed as incessantly feeding on carrion and “fueled” on death.184 Yet in

182 Cf. Judith Jesch, "Eagles, Ravens and Wolves: Beasts of Battle, Symbols of Victory and Death," in The Scandinavians from the Vendel Period to the Tenth Century: An Ethnographic Perspective, ed. Judith Jesch (Woodbridge: Boydell Press, 2002). 183 Ibid., 254. In OE, the motif tends to occur in narrative poetry as battle is taking place, signaling an anticipation of the expectation of slaughter even from the view of the eventual losers. Cf. Aleksander Pluskowski, Wolves and the Wilderness in the Middle Ages (Woodbridge: Boydell Press, 2006), 135-144. 184 Cf. Sylvia Huntley Horowitz, "The Ravens in ‘Beowulf’,” The Journal of English and Germanic Philology 80:4 (1981).

There are six appearances of the raven in Beowulf, including the “blithe-hearted” black raven (blíð-heort hrefn blaca) in line 1801 which seems to announce the coming of day as Noah’s raven does in Genesis 8. Also consider the battle

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ON poetry mutually grouping the raven and wolf for the sole reason of shared food interests

would seem to miss its mark.

After decades of consistent and promising but nonetheless anecdotal evidence concerning a

long-hypothesized socially symbiotic relationship between the raven and the wolf, from

researchers such as L. David Mech and Rolf Peterson operating primarily in Isle Royale National

Park, a quantified study from Yellowstone National Park published in 2002 concluded that “the

raven-wolf association …. demonstrates a kleptoparasitic form of social symbiosis,” in which

“both innate and learned behavioural responses toward wolves are involved … suggesting that the

raven-wolf relationship is an ancient evolved one”.185 For a number of beneficial reasons ravens

choose to associate with wolves rather than exist anywhere else, to the effect that ravens tend to

follow, accompany and monitor wolves and wolf-packs both by flight and tree roosting, that

ravens are dependent on them for the opening of carcasses, that ravens chase, incite, and whet

wolves, their predation-capable symbiotes, so that they may kill more, that ravens fly just above

the heads of wolves both regularly and deliberately as they kill, and that ravens benefit from

trailing wolves by devouring the undigested meat in wolf scat.186 The data is clearest in winter

place-names hrefnawudu and hrefnesholt, “raven-wood.” Cf. the discussion in Osborne, “The Ravens,” 107-109, and Eric Lacey, “Beowulf’s Blithe-Hearted Raven,” in Representing Beasts in Early Medieval England and Scandinavia, ed. Michael D. J. Bintley et. al. (Woodbridge: The Boydell Press, 2015). 185 Isle Royale National Park is an island in Lake Superior 544km2. David L. Mech, The Wolves of Isle Royale

(Washington: USPO, 1966). Rolf Peterson, Wolf Ecology and Prey Relationships (Washington: USPO, 1977). Daniel Stahler et. al., "Common ravens, Corvus corax, preferentially associate with grey wolves, Canis lupus, as a foraging strategy in winter," Animal Behaviour 64:2 (2002), 289. For the Yukon, see Petra Kaczensky et. al., "Effect of raven Corvus corax scavenging on the kill rates of wolf Canis lupus packs," Wildlife Biology 11:2 (2005). 186 Stahler, “Common,” 283, 286-287, 288: ravens associate with wolves (and not coyotes) to reduce food search time, reduce energy expenditure, reduce risks associated with the self-procurement of food, and suppress their innate fear of novel food sources. The study found that ravens spent more time with wolves than they did anywhere else without wolves and that they travel, rest, chase prey, and mouse with wolves. On 24/29 observed wolf-kills, ravens were present during the chase, yet ravens ignored non-wolf acquired carcasses entirely. The researchers write that “we frequently observed ravens following wolves throughout continuous activity that changed from resting to travelling to chasing prey, which sometimes led to the wolves making a kill,” and that “frequent behavioural interactions between these two species were observed at and away from kill sites, such as ravens pulling wolves’ tails, ravens interacting with wolf pups at den sites, and playful chasing between them.” Bernd Heinrich, Mind of the Raven: Investigations and Adventures with Wolf-Birds (HarperCollins, 1999), 249-250, 255, 257-258, 260-261: without wolves ravens can generally only eat the eyes and tongues of carrion, that ravens pull the tails of both eagles and wolves, harass paused wolves, antagonize them to resume travel, and play with them. Peterson, Wolf, 115, 117: ravens accompany wolf-packs on their travels, sit in trees when wolves rest, and eat fresh wolf scats with much incompletely digested meat. Ravens often seem to be teasing

53

and at higher latitudes, which corresponds well with the largely bipartite seasonality of large

swathes of Scandinavia.187 The most impactful crux for poetic metaphor of this symbiosis would

be that ravens whet and incite their predatory symbiotes to kill and then fly above these wolves as

they successfully hunt prey; the wolves (victorious predators) make a kill (victim) and the ravens

fly toward the kill over and above the victors.188

This understanding would be in full agreement with biologist Bernd Heinrich’s assertion that

ravens in the Viking Age were an “omen of victory,” in that the raven-wolf symbiosis would

suffice as an example of Frazer’s theory of homeopathic or imitative magical thinking in which

“like” produces “like,” such that ravens flying over a particular combat-engaged and predatorial

human individual or army metaphorically becomes the wolf, destined for victory over its prey.189

As Heinrich glosses, this hypothesis finds support in a particularly enduring literary motif of a

raven-banner that predicts victory. In an eleventh-century interpolation to the Anglo-Saxon

Chronicle entry for 878, there was a gunfani, or “war-banner,” called the Hræfn, “Raven,” which

resting wolves by swooping low over their heads, landing nearby, hopping close, and arousing the wolves who respond by leaping at them. Lauren E. Walker et. al, "Population responses of common ravens to reintroduced gray wolves," Ecology and evolution 8:22 (2018), 11159: ravens “have adapted” to locate and maximize their time at wolf-acquired carcasses by following wolves directly, following wolf tracks, responding to wolf vocalizations, sharing carcass locations at communal roosting sites, mitigating their prominent carcass-related neophobia, and choose to be near wolves rather than anywhere else. John A. Vucetich et. al., "Raven scavenging favours group foraging in wolves," Animal Behaviour 67:6 (2004), 1118, 1124: ravens routinely associate with wolves away from carcasses, sometimes rarely found except with wolves, and that the influence of raven scavenging favours the evolutionary maintenance of wolf sociality. Mech, Wolves, 159, adds that ravens fly ahead of wolf-pack, perch in trees, wait for them to pass, then “leap-frog” them again, flying over their tracks, eating edible wolf scat along the way. They play with wolves (“raven tag”), they pester them when they linger, and they chase them by flying over their heads. 187 Peterson, Wolf, 115: ravens on Isle Royale in winter are almost entirely dependent on food indirectly provided by wolves. Stahler, “Common,” 284: in highly seasonal northern climates ravens feed in large groups and are dependent upon carrion, an unpredictable food source, and as ravens cannot tear the hide of large mammals they are dependent on wolves. Mech, Wolves, 159: kill-remains are the primary winter food for Isle Royale ravens. 188 Heinrich, Mind, 255, writes that ravens will fly down towards the kill as the wolves are making it. Mech, Wolves, 159, writes that during a moose kill, the ravens swirled around the wolves excitedly during the attack. 189 Heinrich, Mind, 263: “The Vikings … eagerly welcomed ravens. To them the birds were an omen of victory, not

doom. Why else would they fly their raven banner as they went into battle?” Frazer built on the work of Edward Burnett Tylor in The Golden Bough: A Study of Magic and Religion (London, 1922), 14-40. Cf. Susan Greenwood, The Anthropology of Magic (London: Bloomsbury, 2009), 47. Persuasive analogical thinking entails that certain connections are made between things or phenomena by virtue of a transfer of qualities through sympathetic association. For a critique, see Jesper Sørensen, A Cognitive Theory of Magic (Plymouth: AltaMira Press, 2007), 10-13: we cannot ignore or explain away any “magical” actions without misrepresenting the motivations and representations of the agent.

54

receives further detail from the mid-eleventh century Encomium Emmae Reginae in which the

banner was of white silk, was normally blank, but in times of war a raven would appear.190 If the

raven was opening its beak or flapping its wings, then there would be victory; otherwise, the

raven would be subdued and drooping, indicating defeat.191 This is reiterated in the very early

twelfth century by the annalist of St. Neots, and Snorri even configures Haraldr Harðraði as

possessive of the Landeyðan, “land-destroyer,” manifesting furthermore in Orkneyinga saga.192

If we rejoin the raven form hugr Huginn in its natural setting amongst this wolf-raven social

symbiosis and in turn amend HUGR IS A FLYING BIRD, we can generate the conceptual metaphor of

mind HUGR IS A RAVEN INCITING A WOLF:193

These matchings offer a variant operative framework upon which to approach a cognitive

schematic of vindr trǫllkvenna, such that the way in which the base-word <vindr> and the referent

[HUGR] are “normal” through metaphorical analogy now hinges on the naturalistically

harmonized recognition that ravens fly over their predatory wolf symbiotes as they kill their prey.

This amounts to a special case of “birds move by flight and by mediating the wind” and a

different match with the way in which hugr “flies” by hyggjandi, “thinking” and the performance

of cognizing. Wind and one’s ability to mediate wind may no longer simply provide a format of

190 Niels Lukman. “The Raven Banner and the Changing Ravens: A Viking Miracle from Carolingian Court Poetry to Saga and Arthurian Romance.” Classica et Mediaevalia XIX (1958), 140. 191 On this particularly well-known passage, see Lukman, “Raven,” 139-140. Encomium Emmae Reginae, ed. and trans. Alistair Campbell (London: Royal Historical Society, 1949), Book II:9. 192 Lukman, “Raven,” 140-141, 149-150. Cf. Haralds saga Sigurðarsonar XXII. C-V: eyða, “to (lay) waste, destroy.” In Orkneyinga saga the banner-holder may die because they are likened to prey, bringing victory at their own cost; the army around them are instead wolf-like predators. Cf. Leon Wild, “Óláfr’s Raven Coin: Old Norse myth in circulation?” Journal of the Australian Early Medieval Association (2008): 204-210: When Óláfr Goðfriðsson retook York in 941, after briefly ruling both the Danelaw and Dublin, he issued a vast amount of the first coins with Old Norse on them, reading “Óláfr Konungr,” on which he chose to place a raven with its wings displayed. 193 In a similar fashion one may more broadly generate HUGR IS A RAVEN SYMBIOTIC TO THE WOLF.

target domain source domain hugr “flies” by hyggjandi, “thinking” ravens fly over wolves as they kill prey hugr cognizes extrasomatically hugr can be whetted (ON hvetja)

ravens and wolves are external to the human agent ravens may whet wolves to kill

hugr can “play” (ON leika) to someone (KormǪ Lv 31) ravens “play” with wolves (as incitation) hugr as “mind” belongs to a person hugr can imaginatively “be” anywhere

ravens (and Óðinn’s Huginn) follow wolves ravens and wolves move fast, over vast distances

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expression for a metaphor of fate, but concurrent expression is instead signaled by attribution of

wolf-like battle characteristics toward human warriors, divinely intertwined with Óðinn, a

potential guarantor of a positive outcome, in what can be critically thought of as a partially self-

reinforcing feedback loop.

In this view, signaled vindr trǫllkvenna kennings may not directly refer to “the battlefield or a

warrior’s battle spirit” as posited by Quinn,

even if battle kennings with the base-word

<vindr> are frequent, but rather any

eulogized referent [HUGR] would instead be

inextricably tied to the proposed divinatory

mechanism through which the specific

subject achieves success in the ontological “out” space relative to fate, intrinsically qualifying the

referent as wolf-like and predatorial.194 More broadly, we may consider the proportional

metaphor that the raven is to the wolf what hugr is to the person, such that one may consider

hugr as (the) raven of the person, and (the) raven as the hugr of the wolf.195 The way in which the

determinant <trǫllkvenna> and the referent [HUGR] are metonymic, however, remains the same:

both ravens and wolves are external to the body of the human agent, suggestive of hugr in the

view of IDEAS AS EXTERNAL ENTITIES. These matchings have both broad support within and

implications for the Old Norse corpus.

194 Quinn, “Wind,” 211, 214-219, 253: “The significant comparanda for kennings with ‘wind’ as the base-word are kennings for war […] Just as the wind of the valkyrie could signify either the place of battle or a warrior’s performance in battle, so the wind of the giantess seems to have signified either the battlefield or a warrior’s battle spirit.” Frank, “Unbearable,” 504: when a vindr trǫllkvenna kenning appears with tenth or eleventh century skalds, it seems different to Snorri’s “love” heiti and instead closer to “battle-fury.” 195 “Conceptual blending” in Gilles Fauconnier and Mark Turner, The Way We Think: Conceptual Blending and the

Mind’s Hidden Complexities (New York: Basic Books, 2002), offers one way to understand Reginsmál 11, in which Hreiðmar calls his daughter dís úlfhuguð or “wolf-minded woman,” Úlfrinn (“the wolf,” Fenrir) in Gylfaginning 28 speaking of his hugr, and the term úlfshugr which appears in two dreams in the fornaldarsǫgur: Vǫlsunga saga XXXIV and Ǫrvar-Odds saga IV (cf. Atlamál 20, 27); the raven inciting the wolf which is intended to “fly” by “thinking” whets the agent’s wolfishness. Cf. Barnden, “Mixed.,” Frank, “Unbearable,” 509., and Quinn, “Wind,” 254.

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Reginsmál not only supports the theorized raven-wolf social symbiosis by insinuating that the

raven guides the predatorial warrior to its prey, but it elucidates that hearing and seeing a wolf

may augment one’s self with good luck in combat, directly descendant from the predatorial

capacity of the wolf. In Reginsmál 18, Óðinn (Hnikarr) himself states that Huginn was

“gladdened” by a slaying on the behalf of Sigurðr, who is intimately tied to the wolf in the

fornaldarsǫgur and in many eddic poems, a relationship which is perhaps finding equal

representation here.196 In verse 20, a good omen concerning “the sweeping of swords” is “the

dark spot of raven,” who is “faithful guidance for the sword-stave [WARRIOR]”.197 In verse 22, if

you hear a wolf howl under ash-branches and you see them before they go, good luck is

augmented from helm-staves [WARRIORS ≈ WOLVES?].198 Furthermore, in Grímnismál 19 or

that verse preceding that which describes Huginn and Muninn, the “triumphant father-of-hosts”

[Óðinn] “satiates, feeds” (ON seðja) two wolves named Geri and Freki (ON gerr, frekr, “greedy”),

which are gunntamiðr (“battle-‘tamed, trained’”).199 This application of ON gunnr, “[human] war,

battle,” may thus align human predation and the hunting of wolves. In Guðrunarkviða II 29, the

kenning hrægífr designates that which joins Huginn in drinking the heart-blood of the dead

Sigurðr, perhaps best rendered as “corpse-glutton [WOLF],” invoking a similar rapaciousness.200

196 Reginsmál 18: Hnikar hétu mik, þá er huginn gladdi Vǫlsungr ungi ok vegit hafði. “[They] called me Hnikarr, then when young Vǫlsungr [Sigurðr] had slayed and gladdened Huginn. Cf. Reginsmál 26 in which Huginn is again made happy, and Vǫlsunga saga. 197 Reginsmál 20: Mǫrg eru góð, ef gumar vissi, heill at sverða svipun; dyggja fylgju hygg ek ins døkkva vera at hrottameiði hrafns. “Many are good, if men knew, [the] omens about the sweeping of swords; I think faithful guidance for [the] sword-stave [WARRRIOR] to be that dark spot of raven.” 198 Reginsmál 22: Þat er it þriðja, ef þú þjóta heyrir úlf und asklimum, heilla auðit verðr þér af hjálmstǫfum, ef þú sér þá fyrri fara. This is the third, if you are hearing [a] wolf howling under ash-branches, you are becoming augmented of good luck from helm-staves [WARRIORS], if you see them before [they] go. 199 Grímnismál 20: Gera ok freka seðr gunntamiðr, hróðigr Herjafǫðr. C-V: gerr and frekr have the same meaning. Cf. Reginsmál 14, where the wolf is frekum. ON temja is the same verb used by Snorri in Gylfaginning 38 for Óðinn’s actions toward Huginn and Muninn, which trails his brief description of Geri and Freki. 200 Guðrunarkviða II 29: Síz Sigurðar sárla drukku hrægífr, huginn hjartblóð saman. “Since corpse-glutton [WOLF], Huginn, together, drank heart-blood of Sigurðr.” L. David Mech et. al., Wolves: Behavior, Ecology, and Conservation (Chicago: University of Chicago Press, 2010), 106: wolves in the wild easily locate nearly any food source and will eat almost anything, able to ingest 25% of their body weight in a single feeding. Cf. Albertus Magnus, De Animalibus 22:9: “The wolf has a natural enmity for sheep, not merely a desire to prey on an isolated victim, but an all-encompassing barbarity that impels it to kill every sheep within reach.” Pluskowski, Wolves, 30, 93: In Bremen in 1072, so says Gesta

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Both the raven-wolf symbiosis and the divinatory enablement signaled by their cooperation

would seem to form the panegyric backbone of Haraldskvæði, or Hrafnsmál. The verses attributed

to Haraldskvæði in SkP are linked by both their usage of eddic meters and their presentation in

Fagrskinna, and given the fact that both Þorbjǫrn hornklofi and Þjóðólfr ór Hvini are productive

in the tenth century such that the “traditional date” is circa 900, there is ample analytical cause to

consider the poem as a singular composition.201 The poem presents dialogue between a valkyrja,

who understands the voices of birds, and one raven, “the grey-feathered sworn-brother of the

eagle,” who speaks for plural hrafnar in stating that they “have followed [Haraldr], the young

king, since [they] emerged from the egg”.202 This raven subsequently embarks on a eulogic

monologue from verses 4-14 and then answers a series of questions from the valkyrja. The

proposed understanding which follows would interpret this raven-speaker as representative of

conceptual bases underlying HUGR IS A RAVEN INCITING A WOLF such that the raven-speaker is

linked to Óðinn and implicitly the hugr of Haraldr primarily through an explicit wolf-like

attribution to Haraldr and his retinue. This amounts to a(n) (re)orientation of the conceptual

food-chain as stemming from Haraldr, onto the wolves, then to the ravens, while implicating

Haraldr and his retinue as supplanting the role of the wolves in the raven-wolf symbiosis.

Hammaburgensis, wolves were howling in packs in the areas just periphery to the town. In the chronicle of Salimbene of Parma, in the winter of 1247 to 1248 ravenous wolves howled for hours outside the city walls at night. 201 Fulk, SkP I, 91-94: Haraldskvæði is a composite praise-poem in eddic meters never appearing wholly unified in any manuscript and instead assembled mostly from verses in Fagrskinna, which concerns the court of Haraldr Fairhair and has variously assigned authorship between Þorbjǫrn hornklofi and Þjóðólfr ór Hvini. Authorship of Haraldskvæði is somewhat debated; the poem “is more reminiscent of eddic than of skaldic poetry … in regard to metre, vocabulary, syntax,” as well as frequency and obscurity of kennings, dialogic form, and narrative progress. Verses 1-6, and 15-23 are preserved in order in Fagrskinna which are trailed by verses 7-11, whereas verses 12-14 appear variously in SnE mss. or K mss., linked by metre (málaháttr and ljóðaháttr), by praising Haraldr, and by continuing the questions of the valkyrja. Fagrskinna is a product of a Norwegian or Icelandic scholar in the early 13th century. Hornklofi itself is attested as raven heiti. SkP I, 73: the name is unclear, but has been connected to the device of having the raven speak. There is no literal connection in Haraldskvæði to hugr. 202 Haraldskvæði 1-2, 4, trans. Fulk: hvíta, haddbjarta mey (“white, bright-haired girl”), kverkhvíta (“white-throated),

and glæhvarma (“bright-eyelashed”); hausreyti Hymis, “the skull-picker of Hymir,” and inn hǫsfjaðri eiðbróðir arnar. Vér fylgðum Haraldi syni Halfdanar, ungum ynglingi, síðan kvmum ór eggi.

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In verses 8 and 21, verses attributed to the raven-speaker, the only potentially early usages of

úlfheðnar (“wolf-skins”) appear in the ON corpus, each time alongside the term berserkir.203

Initially in verse 8 the ulfheðnar may or may not be the warriors of Haraldr; if they are competing

warriors, then it is they who are in verse 9 “taught to flee,” which can be read as Haraldr and his

retinue successfully gauging into and forming a void of wolf predation.204 If it is Haraldr’s

ulfheðnar in verse 8, it is they who are also “teaching” the opposing warriors “to flee,” which is a

predatorial and wolf-like function, and if the ulfheðnar are understood as the opposing warriors,

then verse 13 nonetheless indicates they have been supplanted.205 In verse 13 Haraldr has the

ability to halt the occurrence of battle and thus control over any subsequent starvation of the

“army-lynxes [WOLVES]” (ON herr-gaupur) of the blood of the slain, notable as a kenning that

is again suggestive of a targeted hybridity in meaning between man or wolf as warrior.206 In verse

20 the valkyrja poses a question to the raven concerning “[the] equipment of berserks” who are

“battle-bold” (ON djarfr, “bold, daring”) and who “rush, storm” (ON vaða) into battle.207 The

response in verse 21 transparently positions these wolf-like warriors, the only “men of courage”

(ON áræði, “daring, courage”) trusted by the “discernment-wise” (ON skil-víss) Haraldr, in his

203 Trans. Fulk, emphasis mine: Berserkir grenjuðu; guðr vas þeim á sinnum; ulfheðnar emjuðu ok dúðu ísǫrn … Þeir heita ulfheðnar, es bera blóðgar randir í orrostu; rjóða vigrar, es koma til vígs; þar es heim sist saman. Þar, hygg ek, felisk sá inn skilvísi undir einum áræðismǫnnum, þeim es hǫggva í skjǫld. “Berserks bellowed; battle was under way for them; wolf-skins [berserkir] howled and brandished iron spears … They are called wolf-skins, who bear bloody shields in combat; they redden spears when they come to war; there [at Haraldr’s court] they are seated together. There, I believe, he, the sovereign wise in understanding, may entrust himself to men of courage alone, those who hew into a shield.” On ulfheðnar and berserkir, see Roderick Thomas Duncan Dale, “Berserkir: a re-examination of the phenomenon in literature and life,” (PhD diss., University of Nottingham, 2014), 58, 60. Heðinn is linked to Proto-Germanic *haðina, related to “underclothing,” and berserkr is a compound of serkr, “shirt, coat of mail,” and ber-, which has been linked to both berr, “bare,” as well as “bear.” Cf. Hárbarðsljóð 37 and Hyndluljóð 24. 204 Trans. Fulk, emphasis mine: Þeir vru hlaðnir hǫlða ok hvítra skjalda, vestrœnna vigra ok valskra sverða [...] Freistuðu

ins framráda allvalds austmanna, es kenndi þeim flýja. “They [the ships] were loaded with men and white shields, western spears and Frankish swords […] They tested the forward-striving mighty ruler of the Norwegians [Haraldr] who taught them to flee.” 205 Fulk, SkP I, 102-103: it seems that scholarly arguments have promoted both understandings. 206 107: […] An ér séð hergaupur, es Haraldr hafi sveltar valdreyra, en verar þeira bræði. “[…] Than that you should see army-lynxes [WOLVES] which Haraldr has starved of the blood of the slain, while their men-folk feed [the wolves]. 207 Trans. Fulk, emphasis mine: Ek vil spyrja þik at reiðu berserkja, bergir hræsævar: hversu es fengit vígdjǫrfum verum,

þeim es í folk vaða? “I want to ask you about the equipment of berserks, taster of the corpse-sea [BLOOD > RAVEN]: what provision is made for war-daring men, those who surge into battle?”

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court: [the berserkir] are ulfheðnar “who bear bloody shields in combat […] redden spears when

they come to war; there they are seated together […] those who hew into a shield”.208

If Haraldr and his retinue are (or become) analogous to wolves, entailing a reconfiguration of

the food-chain, then not only may the raven-speaker be conceptually equivalent to Óðinn’s

Huginn in the role of HUGR IS A RAVEN INCITING A WOLF (doubly as a mouthpiece for the skald),

but may also suffice as a metaphor for an Óðinn-linked hugr of Haraldr such that mappings of

HUGR IS A RAVEN INCITING A WOLF would be applicable to both the raven-speaker and Haraldr

(through his hugr), interfacing skald and lauded leader. These assertions find limited support in

transparent linkages between the raven-speaker, Haraldr, and Óðinn, as does the mapping that (a

cognitive yet breast-based) hugr can be whetted as ravens may whet wolves to kill. Not only is the

raven-speaker conversing with a valkyrja, unquestionably linked to Óðinn, but in verse 12,

Haraldr dedicates the slain to “the one-eyed embrace-occupier of Frigg <goddess> [Óðinn],” the

same dead which would thus be feeding the raven-speaker.209 In verses 6, 9, and 11, Haraldr is

described first as framlyndi, “forward-temper” (ON lyndr, “temper, disposition”), then as

framráðr, “forward-planning,” teaching opponents to flee (ON flýja, “to flee, take flight”), and

lastly hyggjandi seggir or “thinking men” are fleeing from him. The semantics of ON lyndr and

ráða compounded with “forward” evoke a whetted or encouraged hugr which is not and would

not be unilaterally cognitive (ie. “sharp”) as perhaps in a brain-based view, but instead

multivalent as rooted in the breast, inciting semantic proximity to a “full, whole, good” hugr

208 Trans. Fulk. Þeir heita ulfheðnar, es bera blóðgar randir í orrostu; rjóða vigrar, es koma til vígs; þar es þeim sist saman. Þar, hygg ek, felisk sá inn skilvísi skyli undir einum áræðismǫnnum, þeim es hǫggva í skjǫld. Cf. verses 5-6: Haraldr commands “reddened” shield-rims and shields, practices battle as a sport, and grew tired of and rejected the domestic life of warmth and sitting indoors. 209 Trans. Fulk. Valr lá þar á sandi, vitinn inum eineygja faðmbyggvi Friggjar; fǫgnuðum slíkri dð. “The slain lay there on the sand, dedicated to the one-eyed embrace-occupier of Frigg <goddess> [Óðinn]; we welcomed such doings.

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inclusive of (a particularly battle appropriate) “courage,” which Haraldr and the ulfheðnar

epitomize.210

In this same vein the sword, which is whetted by a whetstone, evidentially becomes a

metaphor of a similar tripartite organizational schematic: generous kingship, hugr, and “terror”.211

In Helgakviða Hjǫrvarðssonar 9, Sigurðr is told of the best sword: “a ring is in the sword-guard,

hugr is in the middle, terror is in the point”.212 The metaphor HUGR IS A SWORD BLADE presents a

case of HUGR AS PHYSICAL OBJECT (cf. IDEAS AS PHYSICAL OBJECTS) and is furthermore able to

preserve the distinction between the externally cognizing, “wandering” hugr in the view of IDEAS

AS EXTERNAL ENTITIES and the hugr as MIND AS PHYSICAL SPACE as configured into BODY IS A

CONTAINER FOR THE MIND, because in Viking Age Scandinavia sword-blades and hilts were often

not made together; the docking of the sword-blade hugr in a hilt would be akin to the docking of

the hugr in any bodily container.213 In Fáfnismál 6, the wolf-like Sigurðr responds to Fafnir that it

was his own hugr that whetted him to kill Fafnir (ON hvetja).214 This would be the same hugr

invoked in Fáfnismál 35 as Huginn: in this verse, a speaking bird states that Sigurðr could make

Huginn happy if he kills Reginn, trailed by “a proverbial saying,” that “I expect a wolf when I see

210 Cf. the ambiguity in Fáfnismál 30. Sigurðr states: Hugr er betri en sé hjörs megin. Hugr is better than be [the] might of [a] sword.” 211 See the discussion of polysemy in whetting terminology in ON in Stephen A. Mitchell, “The Whetstone as Symbol of Authority in Old English and Old Norse,” Scandinavian Studies 57:1 (1985), 5-11, 19-22. Particularly, ON egg, hvessa, hvass, and hvetja, “to make keen for a thing.” Note Þórr and whetstones contra the hugr insults in Hárbarðsljóð. 212 Hringr er í hjalti, hugr er í miðju, ógn er í oddi. Cf. Þórsdrápa 11, for another usage of ógn+hugr: the verse utilizes “wolves” in a kenning for [GIANTS] in the first helmingr, then we find: arfi eiðfjarðar hlaut meira ógndjarfan hug; steinn þróttar Þórs né Þjalfa skalfa við ótta. Trans. Marold, emphasis mine: “The heir of Eidsfjorden got [an] even more ‘terror-bold hugr;’ the stone of valour [HEART] of neither Þórr nor Þjálfi shook with fear.” This is clearly an example of hugr as related to “courage,” explicitly within the breast. 213 See Irmelin Martens, “Indigenous and imported Viking Age Weapons in Norway – a problem with European implications,” Journal of Nordic Archaeological Science 14 (2004). Conceptually, this implicates ógn, “terror,” as undetachable from hugr; perhaps consistent with a cardiocentric hugr innately tied to “courage.” 214 In response to Fafnir asking hverr þik hvatti, “who egged you on?” Sigurðr responds: Hugr mik hvatti, hendr mér fullýtðu ok minn inn hvassi hjǫrr. “Hugr whetted me, my hands assisted, and my sharp sword.” This sword is hvassi, from ON hvass, “pointed, sharp, whetted.” Cf. Loki’s response to Þórr in Lokasenna 64, where it is also hugr responsible for whetting (ON hvetja). Cf. Fáfnismál 26, in which Sigurðr states to Reginn: “you challenged me to take an active (ON hvatr) hugr,” in reference to that hugr which has been whetted.

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his ears,” which we might comprehend both literally and as humorously self-referential.215 There

may just be some metaphorical irony: Reginn whetted the wolf-like Sigurðr to kill Fafnir, which

gladdened the whetting raven, which leads to more birds that whet Sigurðr to kill Reginn.

Perhaps more akin to Haraldskvæði is Helgakviða Hundingsbana I 53-54, in which Helgi is first

wolf-like in his fighting prowess, subsequently likened as the corpse-provider for Huginn, and in

turn potentially reaffirmed as himself the wolf. Helgi is “always … foremost in [the] host [of

battle] … eager in battle,” and “all-unwilling to flee,” such that “helm-wights [VALKYRIES] fly,”

and “the horse of men [WOLF?] ate the barley of Huginn”.216

With the above in tow, we can examine the final vindr trǫllkvenna kenning of this study,

Guþþormr sindri’s Hákonardrápa 8, which survives in Heimskringla and Óláfs saga Tryggvasonar

en mesta.217 There is some manuscript discrepancy over the nature of the determinant, such that

Quinn suggests a different understanding of the syntax than Poole and Frank, proposing there

may instead be a “Wind of the Valkyrie” kenning. The similar readings of Poole and Frank are

that which will be used here:218

215 Horskr þœtti mér, ef hafa kynni ástráð mikit yðvar systra; hygði hann um sik ok huginn gleddi; þar er mér úlfs vón er ek eyru sék. See trans. and notes in Larrington, “The Lay of Fafnir”: “Wise he’d seem to me if he knew how to get the friendly vital advice of you sisters; if he thought about himself and made the raven (Huginn) happy; I expect a wolf when I see his ears.” “A proverbial saying, meaning that savagery is to be expected from a savage person.” 216 Verse 53: Ey var Helgi Hundings bani fyrstr í fólki, þar er firar bǫrðusk, œstr á ímu, alltrauðr flugar; sá hafði hilmir hart móðakarn. “Always was Helgi, bane of Hunding, foremost in [the] host [of battle], there where men fight, eager in battle, all-unwilling to flee; that helmsman [Helgi] had [a] hard mood-acorn [HEART].” Verse 54: […] sárvitr flugu, át hǫlða skær af hugins barri. Judy Quinn, “Kennings and other forms of figurative language in eddic poetry,” in A Handbook to Eddic Poetry, ed. Carolyne Larrington et. al. (Cambridge: Cambridge University Press, 2016), affirms that the barley of Huginn are corpses but expresses hesitation, as does ÍF II 257-258, that “hǫlða skær” is a kenning for wolf. Cf. Helgi Hundingsbana II 37, in which Helgi is metaphorically the wolf. 217 SkP I, cxcii, 155-156, 172. Six stanzas and two helmingar survive of Guþþormr’s Hákonardrápa, a drápa (formal eulogy with a refrain) for Hákon I inn goði Haraldsson, who had an upbringing under Æthelstan as a Christian, but is evidentially suggested to have reverted later in life. Guþþormr’s extant poetry displays little inclination toward Christianity, and Guþþormr employs a reference to hugr nowhere else. 218 See Quinn, “Wind,” 237, 252., SkP I, 168-170., Frank, “Unbearable,” 509. Each ms. either preserves óðs- (4 mss., “possession, incitement”), óls- (2 mss. “bane, pestilence, affliction”), or os-/ósk- (4 mss, “wish”). Poole adopts óls-, genitive singular of the neuter substantive ól, rendering “the desired/desiring woman of the moon,” seeing a vindr trǫllkvenna kenning with the referent [HUGR]. Quinn suggests ósk- and the possibility that máni may be metaphorically understood as a shield, such that óskmey, “wished-for woman,” indicates a valkyrja, to the effect that the verse reads “the favourable breeze of the valkyrie of the shield,” indicating battle, battle-spirit, or battle ardour/courage, such that in either reading, Hákon would be well endowed with battle acumen, rather than thoughtfulness. Frank relays óls as “harmer,” resulting in “harmer of the moon [GIANT].”

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ON helmingar Prose Word Order Author’s Translation

Hræddr fór hjǫrva raddar herr fyr malma þverri;

Rógeisu gekk ræsir ráðsterkr framr merkjum.

Herr fór hræddr hjǫrva fyr þverri malma; ræsir rógeisu gekk ráðsterkr framr merkjum.

[The] army went afraid of [the] voice of swords [BATTLE] before [the] decreaser of metals [WEAPONS > WARRIOR = Hákon]; [the] charger of strife-fire [SWORD > WARRIOR = Hákon] went counsel-strong forward of [the] standards.

Gerra gramr í snerru geirvífa sér hlífa,

hinns yfrinn gat, jǫfra, ó[ls/ðs/sk] kvánar byr mána.

Gramr jǫfra gerra hlífa sér í snerru geirvífa, hinns gat yfrinn byr kvánar ó[ls/ðs/sk] mána.

The warrior of kings [Hákon] does not shelter himself in [the] onslaught of spear-women [VALKYRIES > BATTLE], he who got over-great fair-wind of [the] woman of the affliction of the moon [GIANT > GIANTESS > HUGR]

Dating Prose ON Structure Prior to 961 (934? - 961)

yfrin[n] byr kvánar ó[ls/ðs/sk] mána

abundant + [accusative wind + genitive sing. woman + genitive adjective + genitive sing. máni] = over-great [HUGR] (of Hákon)

The grammatical construction is such that Hákon performs the action meant by ON geta, “to get,

learn, beget,” with the referent [HUGR] as the object, synonymous to the notion of “acquiring”

or “obtaining,” which does immediately suggest the referent as in the view of IDEAS AS EXTERNAL

ENTITIES. While there is no directional prepositional phrase with which this might be made plain,

there is a unique adjectival qualifier yfrinn, literally “over-great,” as related to the directional

preposition yfir, “over, above,” the same preposition used to direct the flight of Huginn and

Muninn in Grimnismál 20. However, as, for example, with the “stretching” hugr of Atlakviða 12,

yfrinn may readily be consistent with [HUGR] as in the view of MIND AS PHYSICAL SPACE, such

that the typical bounds of “mind” are exceeded.

Although HUGR IS A RAVEN INCITING A WOLF pivots from the notion of wind navigation

towards “ravens fly over wolves as they kill prey” in its matching with “hugr ‘flying’ by hyggjandi,

‘thinking’,” it is notable that Hákon is nonetheless proclaimed as an apt wind navigator. In verses

2 and 4 there are kennings for [BATTLE] with base-words related to <vindr> and in these same

verses Hákon is the target of kennings for [SEAFARER].219 Hákon is also likened with wolf-like

219 In this case there is clear naval combat such that we may take his seafaring literally, but this does hardly excludes additional meaning. Verse 2: ON él, “shower, storm” in almdrósar eisu élrunnr, “bush of the storm of the fire of the bow-woman [VALKYRIE > SWORD > BATTLE > WARRIOR = Hákon], Valsendir hrauð, “sender of the Valr <horse> of the mast” [SHIP > SEAFARER > Hákon]. Verse 4: skyldir skautjalfaðar, “requisitioner of the sail-bear” [SHIP > SEAFARER > Hákon], ON veðr, “weather” in geirveðr, “spear-storms” [BATTLES]. Cf. Verse 6 in which imagery related to Óðinn culminates, previously built in verse 1 by two kennings for [SPEAR] and [SHIELD] that make use of

63

qualities expressive of this reorientation some three times: straightforwardly, in the second

helmingr of verse 1 Hákon is the “endower of the swan of raven-wine [BLOOD > RAVEN >

WARRIOR],” which is in actual nature the wolf, not directly a warrior, who subsequently pursues

fleeing enemies hiding under their shields in diction reminiscent of Haraldskvæði 11.220

Concerning battle, in verse 8 (both in the preceding helmingr and the same helmingr of the vindr

trǫllkvenna kenning) Hákon is the “decreaser (ON þverra, “to wane, grow less”) of metals

[=WEAPONS],” he is the “charger (ON ræsa, “to make flow, to bring a charge against one”) of

strife-fire [SWORD],” he is these things “forward of [the] standards,” and he does not “shelter

himself in [battle],” all of which may be interpreted as characteristics evocative of the ulfheðnar

and berserkir of Haraldskvæði as well as related eddic passages concerning Sigurðr and Helgi (see

above).221 Thirdly, within the vindr trǫllkvenna kenning itself the determinant <kona ól máni>, or

“woman of the affliction of the moon,” is linked by Poole to the myth of Mánagarmr, “hound of

moon,” which, in Gylfaginning 12, pursues máni and which will swallow máni.222 This should be

seen in light of Vǫluspá 39, interpreted by Ursula Dronke to allude to the notion that a wolf in

the hamr of a trǫll might either swallow or attempt to take the moon.223

Óðinn-heiti as determinants, such that spears are clashing over the heads of slain [WARRIORS], who are “din-rulers of [the] <valkyrie>.” 220 Hrafnvíns svangœðir rak síðan flótta sótt Jalfaðar at mun sínum; hrót Giljaðar hylja. “The benefactor of the swan of raven-wine [BLOOD > RAVEN/EAGLE > WARRIOR] then pursued those who fled with the illness of Jǫlfuðr <=Óðinn> [SPEAR] at his pleasure; the roofs of Giljaðr <=Óðinn> [SHIELDS] conceal [them].” 221 Frank, “Unbearable,” 509, adds that “Guþþormr’s kennings for battle and wind reinforce each other,” such that Frank finds a similar conclusion by different means. For Frank, in the “onslaught of spear-women,” the prince acquires his yfrinn “wind,” related to ON ofrhugi, a term that only appears in prose sources, an idea that leaps from “wind of battle” to the “wind of hugr” with little justification. 222 Poole, SkP I, 169-170: “the kenning apparently alludes to Mánagarmr, ‘hound of the moon,’ a giant in the likeness of a wolf who will swallow the sun.” Frank, “Unbearable,” 512, reduces “the hate-driven, moon-swallowing giant” as “recognizably metaphorical” for the heart, which although inexplicitly targets the cardiocentric psychology of hugr, perhaps construes a misplaced emphasis on “hate.” All other manuscript variations result in functionally comparable meanings to óls, such that all could indicate a determinant indicative of jǫtunn in some manner of tumultuous relationship with the moon. Four of ten ms. witnesses preserve óðs mána, from ON óðr, “possession.” If this reading is utilized, the “possession of the moon,” which must resolve to jǫtunn, evokes diction evocative of ulfheðnar and berserker. Cf. verse 6: Hákon is “Njǫrðr <god> of [the] voice of [the] high-moon of [the] spear [SHIELD > BATTLE > WARRIOR],” which uses máni, “moon,” as the base-word in a kenning for [SHIELD]. 223 Vǫluspá 39: tungls tjúgari í trolls hami, “destroyer of the moon in the hamr of a troll.” Zoëga gives “destroyer” for tjúgari, which C-V relates as originally meaning “pitch-fork.” Dronke, Poetic, 142-143: tiúgari is an agential noun related to OE tēon, “to pull,” which is given in B-T as teón, “to draw, pull.”

64

In sum, the matchings within HUGR IS A RAVEN INCITING A WOLF differ from those within

HUGR IS A FLYING BIRD in that the metaphorical relationship between base-word <vindr> and

referent [HUGR] is such that hugr doesn’t only “fly like a bird (in its ‘thinking’ or cognizing

performance),” but instead hugr “flies like a kleptoparasitic raven over a predatory wolf,” and in

so doing effectively announces control over the ontological “out” space and fate by an implied

divine connection to Óðinn. Within this schematic the referent is, in meaning, positionally

aligned with Huginn, whereas the subject linked to the referent is, in meaning, positionally

aligned with the wolf. Such a connection is tantalizingly similar to what we might expect of a

cardiocentric yet wandering hugr inextricably intermeshed with the meaning of “courage,”

comprising a rather holistic and hybrid conception in which the body and, referentially, hugr in

the view of MIND AS PHYSICAL SPACE as configured into BODY IS A CONTAINER FOR THE MIND is

referenced alongside an extrasomatic hugr in the view of IDEAS AS EXTERNAL ENTITIES which,

unlike that which is somatic, is able, through the proposed cognitive framework, to connect to a

sense of divine control over fate and the immediate battle outcome as rooted in Óðinn. The skald

ensures that Hákon may comprehensively be wolf-like in his courage and battle ability, whetted

in his “mind” (he enters battle ráðsterkr, “counsel-strong”; ON ráð, “counsel, advice, plan,

foresight”) and breast (wolf-like “courage”), and not only lauded as “like” Óðinn conceptually

but simultaneously guaranteed of victory in an uncontrollably windy, ontological “out” space.224

VII. Conclusions

Ontological conceptual metaphors are appendages of the crux of embodiment theory, or an

applied conception of a bipartite division between self and non-self, a barrier which is inherently

prone to conceptual transgression during the performance of cognizing in which cognizance

224 Cf. Hallfreðr Erfidrápa 16: An ally of Ólafr, Þorkell, is hjaldrþorinn (“battle-daring”), snotr (“wise”), and hugframr (“hugr-forward”) in battle, then flees on “the cable-wolf of the sea [SHIP]”; Þorkell is both physically wolf-like and cognitively wise. Cf. COGNIZING AS SEEING, such that we “see” forward; he may be both “forward-thinking” in battle, or anticipatory, and able to escape, as well as, as Heslop states “great-hearted.”

65

inputted into the breast, the physiologically enabled home of hugr where emotional responses are

sensorially felt, is categorized as deriving from and belonging to either an ontological “in” space

or “out” space. As “thought, idea” under the umbrella of cognizance, hugr feasibly has the

potential to be portrayed as in the view of either conceptual space, yet primary evidence from

Section III makes transparent that the referenced space is typically categorically somatic, such that

metaphors of mind such as “full, whole, good [+ hugr]” have a comprehensive cognitive and

emotional breadth consistent with Snorri’s list of heiti for hugr in Skáldskaparmál 70. The

performance of cognizing would be innately transgressive if “objects” deriving from extrasomatic

space which may be categorized as such are brought “in” to what Hávamál suggests is desirably a

protected bodily container, amounting to what may have been a worrisome ontological

phenomenon prone to consequence. Direct discourse with extrasomatic cognitive space seems

limited to rarely attested word forms such as the verb hugsa, “to think at,” and the adjectives

hugsi “thoughtful, absent-minded” and huglauss, “disengaged hugr.”

Hugr conceptually portrayed as in the view of IDEAS AS EXTERNAL ENTITIES, or HUGR AS

EXTERNAL ENTITY, includes the “swift” IDEAS AS PERSONS Hugi of the extraordinarily endowed

jǫtunn Útgarðr-Loki, the underlying conceptual meaning intrinsic to the raven heiti Huginn

leading to the author-generated cognitive metaphors HUGR IS A FLYING BIRD and HUGR IS A RAVEN

INCITING A WOLF, and that which was hypothesized in Section V and investigated through these

two metaphors: vindr trǫllkvenna kennings. Whereas one way to understand the metaphorical

relationship between the base-word <vindr> “wind” and the referent [HUGR] is through the

mental image of bird-flight, likened to the performance of cognizing, the compound determinant

<trǫllkvenna> “[of] troll-women” may instead serve a two-fold purpose: one, to extend the

referent [HUGR] to the ontological “out” space as opposed to the “in,” and two to refine targeted

meaning in terms of this “out” space to objects, events, and agents out of the control of the

cognizer.

66

In Sections V and VI these two proposed roles of the determinant were addressed equally

through two investigatory methods: first, by considering the semantics and transitivity of verbs,

directional prepositional phrases, and same-author same or different source comparisons in order

to discern if hugr is being portrayed as in the view of IDEAS AS EXTERNAL ENTITIES, and second,

by considering references to either the ability or lack thereof of wind mediation and/or wolf-like

attributes concerning the implied subject of the referent [HUGR] in relevant source-contexts in

order to substantiate or refute the hypothesis that subjects may be metaphorically positioned in

terms of that which is ontologically uncontrollable (perhaps a sense of fate). The vindr trǫllkvenna

kenning in Hallfreðr’s Lv 2 evidentially portrays the referent [HUGR] as such an external entity,

over which the subject is unable to assert control, reinforced by Hallfreðr’s Lv 23. Taxonomic

congruity and Kormákr’s Lv 8, 15, 31, and 41 suggest that the “leading wind” of the kenning in

Kormákr’s Lv 1 may also be best understood as similarly referencing [HUGR] as an external

entity, a space in which the agent again has little to no control. The panegyric of Eyvindr’s Lv 11

plausibly juxtaposes Haraldr gráfeldr [SEAFARER] with the referent [HUGR] such as to

compliment Haraldr by reference to a “good” fate in an ontological “out” space which would be

contingent on [HUGR] as an external entity, but it is not explicit where Eyvindr “finds” Haraldr’s

[HUGR]. In Guþþormr’s Hákonardrápa 8 Hákon “gets” [HUGR], qualified as “over-great,”

despite a lack of directional prepositional indication, in which Hákon is both [SEAFARER] and

wolf-like such that [HUGR] is likened to the raven which associates with predators which are

externally successful.

By taxonomic and contextual linkage it is likely that all of these [HUGR] referents are

extended by their respective determinants to portray hugr as extrasomatic and ontologically

divergent from a somatic hugr secure in the breast of a biological bodily container enforced with

unattainable ideals of metaphysical impermeability, as wind, birds, wolves and other persons are

to the cognizing agent, but each bears an intended and intertwined meaning concerning the

67

uncontrollability of this ontological “out” space which is not only impossible to disentangle but

could feasibly be the driving force for the kenning’s existence. Section II clarifies that there is a

void of primary evidence for hugr itself as breath or as a medium for bodily transgression except

at death, and any such permeability and transgression of hugr is only supported to be solely

cognitive and lacking in any tangible or operatively physical mode of transmission, in what may

also amount to what is merely a relative byproduct constructed on a superordinate platform of the

limits of human agency through the whims and tricks of the feminine “Other.” Via the mental

image of uncontrollable wind an agent’s bodily space could be both distinct from the space of

hugr and privy to supernatural mercy; a toolkit of human futility and reality founded on the

sweeping semantic possibility of hugr flexible to the desired meaning of the skald.

68

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Appendix A

Dating Context Attribution/Title Meter Nom.Plural Love Body FickleTurn Whet FullnessGood /Bad

Soft /Hard

InsultDescription Cogn.?TravelFlight?Compliment/Kingship

Battle

961 - 990 K

Eyv., Hákonarmál 9

M X ? X

Eyv., Hákonarmál 15*

L ? ? ?

995 - 1000 K

Hfr., Erfidrápa 2

D

? X

Hfr., Erfidrápa 13

? X

Hfr., Erfidrápa 16

X X X

Hfr., Erfidrápa 27

Glad X

975 - 995? SnE

Eil., Þórsdrápa 11

D X X

Eil.,Þórsdrápa 14

X X ? ? X

Prior to 1014 (965 - 995?)

Sks (Ís.) Hfr.,

Lv 23D X X ?

975 - 985 SnE Úlfr U.,

Húsdrápa 1D Glad ? X

970 - 995 SnE, K Einarr.,

Vellekla 1D Strong X

prior to 970 Sks (Ís.)

Kormákr.,Lv 8

D

X X Strong X

Kormákr.,Lv 15

X X ?

Kormákr., Lv 31

X X ?

Kormákr.,Lv 54

X X huglauss ? X

875 - 900 SnE Þjóðólfr.,

Haustlǫng 12D ? ?

Towards Early Dating

78

Towards Early Dating

EOS, JDV, TG Context Title Meter Nom. Plural LoveBodyFickleTurnWhet FullnessGood/Bad

Soft /Hard

InsultDescription Cogn.? Travel Flight? Compliment/Kingship

Battle

Old Old Old CR

Hávamál 46

L

X

Hávamál 91.1 X X X

Hávamál 91.2 X X X X

Hávamál 95 X X X

Hávamál 102 X X X

Hávamál 106 X X Whole

Hávamál 117 X Good X

Hávamál 121 X X X

Hávamál 124 X X X

Hávamál 161 X X X X

Old Old Old CR

Hárbarðsljóð 21*

F?L?

X Bad ?

Hárbarðsljóð 26 ? X Weak/Soft

Hárbarðsljóð 49 ? X Weak/Soft

Old Old Old CR

Hamðismál 18F

X X Full X

Hamðismál 27 X CR Atlakviða 12 F X X

Old Old Old? CR Vǫluspá 27 F X

Old Middle Old CR

He. Hu. II 14

F

X X

He. Hu. II 15 X X All

He. Hu. II 17 X

He. Hu. II 18 X Bad

He. Hu. II 24 X

Old Middle Old CR

He. Hjorv. 6

F (L)

X Hard

He. Hjorv. 9 X X

He. Hjorv. 40 X X

Old Middle Old CR Sig. hin meiri (Brot) 9

F X All

Sig. hin meiri (Brot) 10 X X

Old MiddleOld(Rec) CR

Fáfnismál 6

L (F)

X X

Fáfnismál 19 X Hard

Fáfnismál 26 X

Fáfnismál 30 X X

Old MiddleOld(Rec) CR Reginsmál 7

L (F) X Whole

Reginsmál 13 X Higher X

Old MiddleOld(Rec) CR Sigrdrífumál 13

L (F) X

Sigrdrífumál 31 X X Full Old Young Old CR Þrymskviða 31 F X X

79

Old Young Old? CR Lokasenna 64 L X X

Young Middle Young CR He. Hu. I 31

F X X

He. Hu. I 46 X

Young Young Young? CR

Guðrúnarkviða II 6

F

X X** X

Guðrúnarkviða II 10 X Good

Guðrúnarkviða II 37 X Bad

Young Young Young Flat. Hyndluljóð 2

F X ? ?

Hyndluljóð 12 X ?

Young Young Young CR Guðrúnarkviða III 1

F (?) X

Guðrúnarkviða III 10 X X

Young Young Young CR

Atlamál 20

F/M

X X Whole X

Atlamál 34 X X

Atlamál 51 X X

Atlamál 74 X X

Atlamál 89 X

Atlamál 96 X X Whole

Young Young Young CR Guðrúnarkviða I 2

F X X Hard

Guðrúnarkviða I 14 X Young Young Young CR Guðrúnarhvöt 3 F X Hard Young Young Young CR Helreið Brynhildar 8 F X X Full X

Young Young Young CR

Sigurð. hin skamma 9

F

X Grim

Sigurð. hin skamma 13 X

Sigurð. hin skamma 38 X X

Sigurð. hin skamma 40 X X

Sigurð. hin skamma 42 X Whole

Sigurð. hin skamma 47 X (not) Good

Sigurð. hin skamma 60 X X

Sigurð. hin skamma 61 X

Young Young Young CR

Hymiskviða 9.1

F

X X Full

Hymiskviða 9.2 X Bad

Hymiskviða 11 X** X Good

Hymiskviða 14 X X

Hymiskviða 17 ? True

Young Young Young CR

Grípisspá 12*

F

? ? ?

Grípisspá 18* ? ? ?

Grípisspá 32 X X X All

Grípisspá 47 X All X Young Young - 17th C Grógaldr 9 F X X

Appendix B EOS 1962

JDV 1964

TG 2005

Text, Verse Old Norse Author’s translation

Old Old Old? Vǫluspá 18

Old Old Old? Vǫluspá 18

Old Middle Old He. Hjorv. 38 Þik kvazk hilmir hitta vilja, áðr ítrborinn ǫndu týndi.

Helmsman [Helgi] has stated he wants to visit you, before [the] glorious-born [Helgi] has lost ǫnd.

Old Middle Old(Rec) Sigrd. 26 Annars dags láttu hans ǫndu farit ok launa svá lýðum lygi.

On another day, you let go his ǫnd, and so reward [his] lie to the people.

Young Young Young Atm. 41 Hrundu þeir vinga ok í hel drápu, exar at lǫgðu, meðan

í ǫnd hiksti.

They pushed Vingi and struck [him] into hel, [they] laid upon [him] with axes, while [he] hiccoughed in ǫnd.

Young Young Young Sig. hin sk. 29 Kona varp ǫndu en konungr fjǫrvi, svá sló hon svára[n] sinni hendi.

She [Guðrun] threw ǫnd but king [threw] life, so she struck her hands so swore.

Sig. hin sk. 33 Hann mun ykkar ǫnd síðari ok æ bera alf it meira.

Of you two he will bear ǫnd the longer, and ever [bear] the greater strength.

Sig. hin sk. 53 Muna yðvart far allt í sundi, þótt ek hafa ǫndu látit.

Your journey moves to the end of its passage, although I will have lost ǫnd.

Sig. hin sk. 60 Þat mun ok verða þvígit lengra at Atli mun ǫndu týna.

In not too much time it will come to pass that Atli will lose ǫnd.

fornaldarsögur Gat. Gest. 25 Ek sá moldbúa folder fara; á sat nár á nái; blindr reið blindum til brimleiðar; jór var vanr andar.

Trans. Burrows: I saw a soil-dweller <snake> of the earth travelling; a corpse sat on a corpse; a blind thing rode on a blind thing to the surf-way [SEA]; the steed was lacking in breath.

81

Appendix C Location # Signature SRDB Dating Style A-S Gräslund

Uppland <200 -

Södermanland 36 -

Småland 10 Sm 7 Sm 31 Sm 19 Sm 154 Sm 72 Sm 100 Sm 75 Sm 137 Sm SvS1973;4 Sm 143

V V V V V V V V V V

RAK ? RAK N/A Pr3? N/A N/A Pr3 Pr2/Pr3 N/A

980?-1015 980?-1015 (1045-1075)? 1045-1075 1020-1075

Öland 7 Öl 16 Öl 12 Öl ATA4684/43C Öl 9 Öl 23: Pr1 or Pr2, V Öl ATA430/37;16 Öl Kǫping47: V

V V V V V V V

Pr2 Pr2/Pr3 N/A Pr2-Pr3? Pr1/Pr2 N/A N/A

1020-1050 1020-1075 (1020-1075)? 1010-1050

Östergötland 5 Ög 139 Ög 163 Ög 161 Ög 228 Ög 229

V V V V V

N/A Pr2/Pr3 KB Pr2 Fp

1020-1075 1020-1050 1010-1050

Bornholm 4 DR384: RAK, V DR380: RAK, V DR370: RAK, V DR378: RAK?, V?

V 1050-1150 V 1050-1150 V 1050-1150 V 1050-1150

RAK RAK RAK RAK?

980?-1015 980?-1015 980?-1015 (980?-1015)?

Västra Götaland 3 Vg 105 Vg 127 Vg 216

V, around 1100 V After 1100

Fp Fp N/A

1010-1050 1010-1050

Gästrikland 2 Gs 2 Gs 15

V, after 1000 V, after 1000

Pr2 Pr2

1020-1050 1020-1050

Hälsingland 2 Hs 2 Hs 8

V V

Pr2? ?

(1020-1050)?

Norway 3 N 319 N 187 N A222

M, after 1100 V V

N/A RAK N/A

980?-1015

Skåne 1 DR 354 V 1050-1150 Fp 1010-1050 Gotland 1 G 276 V, after 1000 N/A

Medelpad 1 M 16 V Fp? (1010-1050)?